Book of Abstracts

Table of Contents

Organizing and Program Committees

1

Message from the Organizers

2

Keynote Speakers

3

Program5

Abstracts
Round Table 1

13

Round Table 2

14

Round Table 3

15

Session 1

17

Session 2

27

Session 3

45

Session 4

66

Session 5

83

Session 6

98

Session 7

112

Book of Abstracts | Replaying Japan 2021
Organizing Institutions:
AI for Society (AI4S) signature area
Kule Institute for Advanced Study (KIAS),
and Prince Takamado Japan Centre (PTJC)
University of Alberta
Co-Organizers:
Ritsumeikan Center for Game Studies
University of Delaware
Bath Spa University
Seijoh University
University of Liège
Université du Québec à Montréal (UQAM)
DiGRA Japan
Sponsors:
Japan Foundation Toronto
AI for Society (AI4S) signature area
Kule Institute for Advanced Study (KIAS)
Prince Takamado Japan Centre (PTJC)
Collaborating Organization:
Consulate-General of Japan in Calgary
Conference co-chairs
Geoffrey Rockwell, University of Alberta
Aya Fujiwara, University of Alberta
Jérémie Pelletier-Gagnon, Université du Québec à Montréal
Programme Committee
Keiji Amano, Seijoh University
Fanny Barnabé, University of Liége
Kazufumi Fukuda, Ritumeikan University
Koichi Hosoi, Ritumeikan University
Rachael Hutchinson, University of Delaware
Mitsuyuki Inaba, Ritumeikan University
Akito Inoue, Ritsumeikan University
Akinori Nakamura, Ritumeikan University
James Newman, Bath Spa University
Mimi Okabe, University of Alberta
Martin Picard, Leipzig University
Martin Roth, Ritsumeikan University
Masayuki Uemura, Ritsumeikan University
Shuji Watanabe, Ritsumeikan University-1-Book of Abstracts | Replaying Japan 2021

Message From the Organizers
It was ten years ago that we held the first symposium bringing together researchers fromJapan and the West to discuss Japanese video games. The symposium was held in 2012 inEdmonton Alberta, but it grew out of conversations that took place at Ritsumeikan University
in 2011 about the need for a venue for dialogue across cultures about Japanese games. At ameeting after the symposium a group of us from the University of Alberta and Ritsumeikan
University decided to start a regular conference on Japanese game culture that would
alternate between Japan and other locations for at least a couple of years. Since then the
Replaying Japan conference, as we named it, has been around the world and has matured into
a vibrant research community. It has been hosted a number of times by Ritsumeikan in Kyoto;
it has been back to Edmonton; it has been to Rochester, USA; to the Videogame Arcade in
Nottingham, UK; and last summer it was hosted online by the Liège Game Lab, Belgium. That
each year the conference grows in quality and breadth of participation is a testimony to theinterest of the community. Now we even have a journal of Replaying Japan thanks to
Ritsumeikan University. We all look forward to the next ten years.
Over the last ten years, the Replaying Japan conference invited scholars and students to think
about Japanese game culture from a variety of perspectives. We first hosted our first themed
conference in Ritsumeikan in 2015 in celebration of the 30th anniversary of the release of theNintendo Entertainment System in North America and the monumental impact it had on thegaming culture. The following year in Leipzig University, we explored the relation between
the local and the global, a question pervasive to the study of Japanese games in light of theirdiverse international audience and circulation networks. We then turned our gaze to thenotion of transmediality and the place of videogames in the broader Japanese "media mix" inRochester, and, in Nottingham, we took a deeper look at the soundscape of Japanese
videogames and its relationship to play. We took a step back in 2019 to reexamine the past,present and future of Japanese videogames, and delved forward in Liège in 2020 as we tiedthe conference to the planned Tokyo 2020 Olympics as an opportunity to examine thediversity of the global eSports movement and the idea of competitive gaming.
This year, the University of Alberta’s three organizations, AI for Society (AI4S) signature area,
Kule Institute for Advanced Study (KIAS), and Prince Takamado Japan Centre (PTJC) welcome
the community for Replaying Japan's second online conference around the theme of artificial
intelligence in Japanese videogames. As we acknowledge the rising interest in the ways inwhich algorithms and data-driven analytics systems have become part of our daily lives, wereflect on how AI has been represented in games, how it affects design and business
operations, as well as how it can become a tool that contributes to generate new type ofknowledge on Japanese videogames.

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Keynote Speakers

Keynote Speaker 1:“The History of Game AI in Japan”
Youichiro Miyake, Lead AI Researcher for SQUAREENIX

Youichiro Miyake has been developing game titles while researching game AI technologies as
lead AI researcher for SQUARE ENIX over the last 10 years. He has helped develop and design
the AI for many games, serving as the AI Technical Advisor for “Final Fantasy XIV “and theLead AI Architect for ““FINAL FANTASY XV”. He was also the AI Technical Director for“KINGDOM HEARTS III,” and QA Automation AI Technical Advisor for “FINAL FANTASY VIIREMAKE.” He is also appointed to some leadership positions, including the Chair of SIG-AI in
Japan Chapter, International Game Developers Association (IGDA Japan), Director, Digital
Games Research Association (DiGRA) JAPAN, and Director, The Society for Art and Science. He
also holds academic positions including that of Visiting Researcher at the Research Center for
Advanced Science and Technology, University of Tokyo since October 2018, Visiting Professor
at the Institute of Mathematics for Industry, Kyushu University, since 2019, and Specially
Appointed Professor, Graduate School of Artificial Intelligence and Science, Rikkyo University
since April 2020.
Abstract“The History of Game AI in Japan”
There is a long history of game AI in Japan, but it is not well known because most ‘80s and ‘90s
game development documents have not been preserved with a few notable exceptions. In
general, the history of ‘80s and ‘90s game development in Japan is not well documented, andthis is also the case for the history of in-game AI. But many game AI developers including meneed the history of game AI because they make a new game AI based on the past knowledge
and cases of game AI. Over the past more than ten years, I recorded oral histories from gamecreators who created AI for games in the‘80s and ‘90s, in order to reconstruct the history of
in-game AI development in Japan. In the lecture, I will show both the recent game AI technicaldesign and past game AI technologies. Furthermore the relation between them is explained.

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Book of Abstracts | Replaying Japan 2021

Keynote Speaker 2:“Games for Cognitive Health and Improved Mobility”
Eleni Stroulia, University of Alberta
Dr. Eleni Stroulia is a Professor in the Department of Computing Science, at the University ofAlberta. From 2011-2016, she held the NSERC/AITF Industrial Research Chair on Service
Systems Management, with IBM. Her research focuses on addressing industry-driven
problems, adopting AI and machine-learning methods to improve or automate tasks. Her
flagship project in the area of health care is the Smart Condo in which she investigates the useof technology to support people with chronic conditions live independently longer and toeducate health-science students to provide better care for these clients. In 2011, the SmartCondo team received the UofA Teaching Unit Award. She has played leadership roles in the
GRAND and AGE-WELL Networks of Centres of Excellence. in 2018 she received a McCallaprofessorship, and in 2019 she was recognized with a Killam Award for Excellence in
Mentoring. She has supervised more than 60 graduate students and PDFs, who have gone
forward to stellar academic and industrial careers. Since 2020, she is the Director of the
University of Alberta's AI4Society Signature Area, and since 2021, she serves as the Vice Deanof the Faculty of Science.
Abstract
Mobility and cognition decline, associated with aging and illness, are the two most common,
intertwined complexities faced by older adults. Games, in a variety of forms and technologies,
offer an engaging method for older adults to exercise their cognitive and physical abilities.
VibrantMinds and VirtualGym are two parallel projects that my team has been pursuing toinvestigate this hypothesis.
VibrantMinds offers a number of well known entertaining games, designed to challenge aperson’s perception, attention, language and visual processing, and memory. Intentionallydesigned to become systematically more difficult over time, the users’ performance on themprovides an indicator of their cognitive skills. At the same time, gameplay can be highly
engaging and exercises and may potentially improve these skills.
VirtualGym is an exergames platform, offering a 2D and an immersive VR experience. The user
is guided through exercises routines, modelled by exercise specialists in a special-purpose
language, and demonstrated by a coach avatar in the former case, and implemented in gamemechanics to which the user has to respond through movement in the latter case. VirtualGym
exercise routines are adjustable to the user’s mobility and, at the same time, challenging.
In this presentation, we will discuss the two systems, the key premises underlying their design,and some initial findings from our studies.

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ProgramAugust 9 (MON) MDT / August 10 (TUE) BST/CEST/JST
Opening Remarks

MDT
5:00-5:15 pm

BST
12:00-12:15 am

CEST
1:00-1:15 am

JST
8:00-8:15 am

Geoffrey Rockwell, University of Alberta
Consul-General Tasukuni Uchida, Consulate-General of Japan in Calgary
Yuko Shimizu, Executive Director of the Japanese Foundation
Keynote Lecture 1

5:15-6:00 pm

12:15-1:00 am

1:15-2:00 am

8:15-9:00 am

2:00-3:00 am

10:00-11:00 am“The History of Game AI in Japan”
Youichiro Miyake, Lead AI Researcher for SQUARE ENIX
Session 1

6:00-7:00 pm

1:00-2:00 am“Play and Interaction for DGBL Model”
Jeremy White, Ritsumeikan University“Does the AI Need to Die? – Representation of AI in Japanese Visual Novels over the Years”
Stanley Wijaya, National University of Singapore“Japanese Zen Culture in Souls Series”
Haryo Pambuko Jiwandono, University of Brawijaya“Kyoto Video Games Business Ecosystems”
William W. Baber, Kyoto University
Arto Ojala, University of Vaasa“Character Affectivity and Temporality in Newton and the Apple Tree”
Henri Nerg, University of Jyväsky“Japanese Image and Perception in Africa at the Epoch of China’s ‘Dominance’: A Study of
Two Diverse Asian States in Africa- A Case Study on Ghana”
Ohene Opoku Agyemang, Jinan University
Asamaniwa Acquah, Peking University
Break
Round Table 1

7:00-7:15 pm
7:15-8:00 pm

2:00-2:15 am
2:15-3:00 am“The Preservation of Video Games”
Akito Inoue, Ritsumeikan University
Akinori Nakamura, Ritsumeikan University
Masaharu Miyawaki, Ritsumeikan University-5-

3:00-3:15 am
3:15-4:00 am

10:00-10:15 am
10:15-11:00am

Book of Abstracts | Replaying Japan 2021
Jun Ha Lee, University of Washington
Henry E Lowood, Stanford University
August 10 (TUE) MDT/BST/CEST - August 11 (WED) JST
KeynoteLecture 2

MDT

BST

CEST

JST

9:00-9:45 am

4:00-4:45 pm

5:00-5:45 pm

12:00-12:45 am

6:00-7:00 pm

1:00-2:00 am“Games for Cognitive Health and Improved Mobility”
Eleni Stroulia, University of Alberta
Session 2

10:00-11:00 am

5:00-6:00 pm“Artificially Human: Xenoblade Chronicles, Astral Chain, and How Language Creates
Humanity”
Andrea Mariucci“Game A.I. As Performance/Performing: a Theoretical Concept for the Japanese Context”
Vincenzo Idone Cassone, University of Turin“Eagle's Computer Warrior: Japanese Arcades to UK Comics via Licensed Third Party
Home Computer Conversions”
Kieran Nolan, Dundalk Institute of Technology“Vulnerable Machines—Negotiating Humanity and Life in NieR:Automata and Detroit:
Become Human”
Sebastian Polak-Rottmann, University of Vienna
Christina Gmeinbauer, University of Vienna“Artificial Intelligence and the Equilibrium of Failure”
Hélène Sellier
Laura Goudet“Artificial Intimacy: Gynoid and Artificial Intelligence as Visual Novel Game Character
Templates”
Luca Bruno, Universität Leipzig“You Must be Tired After Today. Let's Go to Sleep”
Susana Tosca, Roskilde University
Victor Navarro-Remesal, Tecnocampus, Universitat Pompeu Fabra
Gathertown

11:15 pm-Noon

6:15-7:00 pm-6-

6:15-8:00 pm

1:15-2:00 am

Book of Abstracts | Replaying Japan 2021
August 11 (WED) MDT / August 12 (THU) BST/CEST/JST
Session 3

MDT
5:00-6:00 pm

BST
12:00-1:00 am

CEST
1:00-2:00 amJST
8:00-9:00 am“Game Live Streaming in the Japanese Context: Initial Findings”
Mark Johnson, University of Sydney“Agent-Based Sugoroku Analysis using Double Sixes”
Nathan Altice, University of California, Santa Cruz
Jared Pettitt, University of California, Santa Cruz
“A Study on the Relationship between “Video Game Uses and Gratifications” and “Creative
Attitudes” among University Students Majoring in Digital Game Development”
Fukui Masanori, Tokushima University
Yuji Sasaki, Keio University
Jo Hagikura, Kwansei Gakuin University
Masakatsu Kuroda, Kobe Women's University“Educational Game Creation & Critical Translation in RPG Maker MV”
Ryan Scheiding, Concordia University
Mimi Okabe, University of Alberta“Characteristics of Computer Game Players in Japan, the U.K. and China: Results of anInternational Comparative Survey”
Nobushige Kobayashi
Yuhsuke Koyama, Shibaura Institute of Technology
Ema Tanaka, Meiji University“A Development Process, Scale and Scope of Console Game Industry in Japan: ThroughAnalysis of a Multiple Connected Dataset”
Yasushi Hara, Hitotsubashi University
Kazufumi Fukuda, International Professional University in Osaka
Akito Inoue, Ritsumeikan university
Fumihiko Ikuine, Chuo Univeristy“Extracting AI Technologies of Past Digital Games by Using MCS-AI Dynamic Cooperative
Model”MCS-AI 動的連携モデルによる過去のゲームにおける人工知能技術の抽出
Youichiro Miyake, Rikkyo University
Fujio Toriumi, University of Tokyo
Session 4

6:00-7:00 pm

1:00-2:00 am

2:00-3:00 am

9:00-10:00 am“An Investigation of the Psychological Behavior of Top Japanese TCG Players Using
Process Recording of Pokémon Card Games”
Yuuki Shiina, Nagoya Zokei University
Jean-Marc Pelletier-7-

Book of Abstracts | Replaying Japan 2021
“Under the Radar – Visualizing the Spatial Complexity of “Japanese” Console Videogames”
Martin Roth, Ritsumeikan University“The Rise and Fall of Popular Amusement: Operation Invader Shoot Down”
Keiji Amano, Seijoh University
Geoffrey Rockwell, University of Alberta“Interim Report on the Development of Shochiku Kyoto Studio VR Personal Tour System
Using Unreal Engine 4”
Seiki Okude, Ritsumeikan University
Lingxuan Shi, Ritsumeikan University
Ryogo Nagao, Ritsumeikan University
Koki Shibaike, Ritsumeikan University
Yuuta Taniguchi, Ritsumeikan University
Ryo Watanabe, Ritsumeikan University
Aknori (Aki) Nakamura, Ritsumeikan University“Failed Multinational Operations of Japanese Mobile Game Company in 2010s”
Atsuo Nakayama, Keio University“Moral Management in Japanese Game Companies”
Keiji Amano, Sejoh University
Tsugumi Okabe, University of Alberta
Geoffrey Rockwell, University of Alberta“Human Relationship Formation through Video Games: A Case Study of a Game Center”
Hiroyasu Kato, Kanto Gakuin University
Break
Round Table 2

7:00-7:15 pm
7:15-8:00 pm

2:00-2:15 am
2:15-3:00 am

3:00-3:15 am
3:15-4:00 am

10:00-10:15 am
10:15-11:00 am“Theme Park Studies in Japan”
Martin Roth, Ritsumeikan University
T.L Taylor, MIT
Akinori Nakamura, Ritsumeikan University
Yasuo Kawasaki,
Akito Inoue, Ritsumeikan University

August 12 (THU) MDT / August 13 (FRI) BST/CEST/JST
Session 5

MDT
5:00-6:00 pm

BST
12:00-1:00 am“Playing with BB in Death Stranding”
Bryan Hikari Hartzheim, Waseda University

-8-

CEST
1:00-2:00 amJST
8:00-9:00 am

Book of Abstracts | Replaying Japan 2021
“Record Breakers: Forensic Media Archaeology Versus the King of Kong”
James Manning, Royal Melbourne Institute of Technology“Ainu Digitality and Rethinking the Game Medium”
Andrew Campana, Cornell University“Beached Dolphin: How the Nintendo GameCUbe Failed”
Izska Barnette, Liberty University“Character Driven Puzzle Games on the on the Sega Saturn”
Peter Smith“Japanese Video Games as Tools for Language Acquisition”
Tar Georgiana Lavinia, Babeş-Bolyai University“From Jipang to Midgar: National Allegories in Japanese Role-Playing Games”
Nökkvi Jarl Bjarnason, University of Iceland“A Study of Tourism Photography in In-Game Photography: A Case Study of Snapshot AI”
インゲームフォトグラフィーにおける観光写真に関する研究―自動生成写真を事例としてー
Yuka Fukuura, Hokkaido University“China's Governmental Restriction and Game Players' Countermeasures to it: The Virtual
Place Created in Battlefield 4”
欧米戦争ゲームの中の中国表象——「Battlefield 4」に対する政策とプレイヤーの取り組み
Shiyu Yang, Ritsumeikan University
Round Table 3

6:15-7:00 pm

1:15-2:00 am

2:15-3:00 am

9:15-10:00 am

3:00-3:15 am
3:15-4:00 am
4:00-5:00 am

10:00-10:15 am
10:15-11:00 am
11:00 am-Noon“Ten Years of Dialogue: Reflecting on Replaying Japan”
Koichi Hosoi, Ritsumeikan University
Rachael Hutchinson, University of Delaware
Mitsuyuki Inaba, Ritsumeikan University
Akinori Nakamura, Ritsumeikan University
Jérémie Pelletier-Gagnon, University of Alberta
Geoffrey Rockwell, University of Alberta
Mimi Okabe, University of Alberta
BreakGathertowm
Business Meeting

7:00-7:15 pm
7:15-8:00 pm
8:00-9:00 pm

2:00-2:15 am
2:15-3:00 am
3:00-4:00 am-9-Book of Abstracts | Replaying Japan 2021
August 13 (FRI) MDT/BST/CEST/ August 14 (SAT) JST
Session 6

MDT
9:00-10:00 am

BST
4:00-5:00 pm

CEST
5:00-6:00 pm

JST
12:00-1:00
am“Links to the Past? Formulating and Recreating Built Environment from Medieval Japan”
Philippe Depairon, Université de Montréal“A Visual Analysis of the Cards in Fate/Grand Order Arcade”
Victoria McArthur, Carleton University“Kamurocho, Kazuma and I: the Experiential Cartography of a Digital Town in the Yakuza
Series”
Leandro A. Borges Lima, Universida de Federal do Rio Grande do Sul“Transculturality in Kingdom Hearts: Character Design and Generational Appeal”
Rachael Hutchinson, University of Delaware“Transnational Taikos: Donkey Konga and Taiko no Tatsujin as European Distributed(Hyper)Cultural Products”
Beatriz Pérez Zapata, Valencian International University/Tecnocampus, Pompeu Fabra
University“Playing to Protect the Nation: Conservative Frames and Nationalist Nostalgia in Tōhō
Project”
Sebastian Sabas, Heinrich Heine University Düsseldorf“Graffiti Activism or Slacktivism: Computer-assisted Analysis of the “Blitzchung”
Controversy and the #Boycottblizzard Movement”
Jérémie Pelletier-Gagnon, Université du Québec à Montréal
Patrick Deslauriers, Université du Québec à MontréalLouis-David L. Renaud, Université du Québec à Montréal
Maude Bonenfant, Université du Québec à Montréal
Break
Session 7

10:00-10:15 am
10:15-11:15 am

5:00-5:15 pm
5:15-6:15 pm

6:00-6:15 pm
6:15-7:15 pm

1:00-1:15 am
1:15-2:15 am“Curated Expressions of Japanese History in Sid Meier's Civilization VI”
Michael Pennington, Bath Spa University“Japanese Digital Games in Czech Media Discourse”
Marek Mikeš, Masaryk UniversityZdeněk Záhora, Masaryk University“Eating Your Way Through Sugoroku: Imaginary Travel in a Japanese Board Game”
Bianca Chui, University of British Columbia- 10 -

Book of Abstracts | Replaying Japan 2021
“Remediating Video Games: Early Game Theory in Unlikely Places”
Jonathan E. Abel, Penn State University“#MewToo: “Spoofer Stalkers” and the Safety of Femme and Women Players of Pokémon
GO”
Stéphanie McKnight, Carleton University
Conference Closing
in Gathertown

11:15am-12:15
pm

6:15-7:15 pm- 11 -

7:15-8:15 pm

2:15-3:15 am

Book of Abstracts | Replaying Japan 2021

Abstracts- 12 -

Book of Abstracts | Replaying Japan 2021

Round Table 1“The Preservation of Video Games”
Participants:
Akito Inoue, Ritsumeikan University
Akinori Nakamura, Ritsumeikan University
Masaharu Miyawaki, Ritsumeikan University
Jun Ha Lee, University of Washington
Henry E Lowood, Stanford University
This roundtable is organized to discuss the preservation of video games.
The theme of video game preservation is a long-term mission that can be accomplishedthrough the collaboration of various stakeholders and experts. First, those involved in thepreservation and organization of video game materials will introduce their respective efforts
in Japan and the United States.
After that, we will discuss what the people in charge of each project think about some of theissues related to the preservation of video games.
The following issues are assumed as specific issues.
•

•
•
•

Copyright and Access: In each country, there are legal restrictions and problems of
coordination with the right holders in utilizing the preserved games and game relatedmaterials.
Organization of game related materials: Multilingual support for games, organization ofmaterials built up during the development process of games, etc.
Emulation: Emulation has become one of the major tasks for software preservation.
The Effect of Covid 19: Covid 19 is also having an impact on video game preservation
projects. We will discuss the impact of the Covid 19 pandemic on video game preservation
efforts.

Through this discussion, we hope to clarify the similarities and differences in preservation
between Japan and the U.S., and to promote mutual cooperation.

- 13 -

Book of Abstracts | Replaying Japan 2021

Round Table 2“Theme Park Studies in Japan”
Moderator: Martin Roth, Ritumeikan University
roth1003@fc.ritsumei.ac.jp
Participants:
T.L Taylor, MIT
Akinori Nakamura, Ritsumeikan University
Yasuo Kawasaki,
Akito Inoue, Ritsumeikan University
While Game Centers in Japan have received increasing attention from Japan-focused gamescholars, the broader field of theme parks and amusement facilities has not been consideredfrom this perspective. The success of Disneyland Tokyo and other theme parks during the
bubble economy in the 1980s inspired academic discussions of their character as simulations
or simulacra. The subsequent burst of the bubble prompted an interest of theme parks aspotential sources of rural and urban revitalization. Today, theme parks are reconsidered in
the context of Corvid. Taking note of these trajectories, this round table aims to consider
potential avenues for Game Studies and Play Studies-based perspectives on theme parks inJapan and around the world. The round table participants will provide a short pitch of theircurrent work and potential next steps. In the subsequent discussion, we hope to identify
common ground between the different approaches and explore concrete future research steps
at the intersection of Japan, Theme Park Studies and Game Studies.

- 14 -

Book of Abstracts | Replaying Japan 2021

Round Table 3“Ten Years of Dialogue: Reflecting on Replaying Japan”
Participants:
Koichi Hosoi, Ritsumeikan University
Rachael Hutchinson, University of Delaware
Mitsuyuki Inaba, Ritsumeikan University
Akinori Nakamura, Ritsumeikan University
Jérémie Pelletier-Gagnon, University of Alberta
Geoffrey Rockwell, University of Alberta
Mimi Okabe, University of Alberta
The Replaying Japan conference will have been going now for ten years if you include
its predecessor symposium that was held in 2012 in Edmonton, Canada.1 It is time to reflect
back on this sustained dialogue across cultures about Japanese game culture. In this panel
we will each briefly discuss, from our different perspectives, three questions around 1) the
background history of the conference, 2) the goals of the dialogue as they have evolved, and3) the future challenges and opportunities.
1. Some History:
What is the background history of the Replaying Japan community?
The encounter around Japanese Game Culture came out of the willingness of
Ritsumeikan University to host Geoffrey Rockwell as a Japan Foundation Japan Studies Fellow
in Kyoto in 2011. While Rockwell worked closely with researchers like Prof. INABA at the
Ritsumeikan Digital Humanities Centre for Japanese Arts and Culture (https://www.dhjac.net/), he also got to meet Professors Nakamura and Koichi at the Ritsumeikan Centre forGame Studies (https://www.rcgs.jp/). Out of these conversations it became clear that gamestudies in the West and game studies in Japan were not in conversation. The researchcommunities were siloes working in their own languages that didn’t intermingle much. We
agreed that we needed to try to bridge the communities and organized a first small symposiumin 2012 in Edmonton with support from the Prince Takamado Japan Centre at the Universityof Alberta. At a meeting right after the symposium we developed the idea for a conference that
could go back and forth between Japan and the West called Replaying Japan. Initially theconference just went back and forth between Kyoto and Edmonton, but we soon started goingto Europe and the USA which expanded the network.
2. Evolving Goals:
What are the goals and achievements of the community?
In the panel we will reflect back on what were the goals that we had for Replaying Japan.
Of course, some of these goals emerged over time as we figured out what we're doing. Someof the goals include:
Strictly speaking the first Replaying Japan conference was the next year, 2013, held at Ritsumeikan University.
For this reason the 2021 conference is the Ninth conference, though it will be ten years since we started
meeting.
1- 15 -

Book of Abstracts | Replaying Japan 2021
● To continue the dialogues across culture that had taken place in Kyoto and at Digital
Humanities conferences in a more structured fashion.
● To expand the field of game studies to include the study of Japanese game culture andassociated topics like games and education.
● To introduce new researchers, whether graduate students or junior faculty tointernational research creating a safe space for them to find their voice.
● To create a space where researchers could develop collaborations.
● To exchange ideas about shared issues like methods for games research, approaches togame development education, and problems in game archiving and preservation.
3. Future Challenges and Opportunities
What are the challenges and opportunities ahead?
The panel will end by discussing future challenges and opportunities. We believe that one of
the challenges includes the perennial problem of translation. Many researchers speak only
English or Japanese which makes it difficult to bridge linguistic communities. By default wehave operated mostly in English while trying to provide translation services to those thatneed them, but this continues to be an issue that needs to be addressed if we are to be
inclusive.
One way to alleviate imbalances of access to knowledge in the field would be to promotetranslations from and to Japanese. Translation of work from other linguistic regions into
English is scarce in game studies compared to other fields, perhaps due to a lack of incentives
or perceived value of such important work. However, it is a core element of the spirit of
dialogue of our community. The Replaying Japan conference (or journal) could be a space thatprovide such an incentive through dedicated annual panels or a journal section.
Another issue is the need to see more women’s involvement in Replaying Japan on
the Japanese side. Having more women scholars, developers, etc (and/or those who identify
as women) will better promote an image of the conference as an inclusive space. It would also
give us an opportunity to connect with scholars who are doing interesting work and help
support our goals.
Finally, will discuss communication tools and solicit input from the audience. How could
the community use email listserv lists and could we use the closed captioning featuresof videoconferencing tools to provide translation? How can the Replaying Japan journal help
build the research community?
Conclusion
The panel looks forward to hearing from the audience. After all, this conference andassociated activities by you and for you. Tell us what you think at the conference online.

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Book of Abstracts | Replaying Japan 2021

Session 1“Play and Interaction for DGBL Model”
Jeremy White, Ritsumeikan University
jwhite@fc.ritsumei.ac.jp
The importance of English as a test subject in Japan has always been apparent, especially at
the junior high school to university level. However, the need for English at all levels ofschooling and society is also increasing in Japan as both students and the general public look
to become more international. Since 2020 compulsory English education involves an extra
four years of English, bringing Japan in line with its Asian neighbors (Nunan, 2003). The useof the grammar-translation methodology of instruction, a teacher-centered methodology, hasbeen theorized to be one primary reason why extra years of English education alone will havelittle effect on English communicative competence. Digital game-based learning (DGBL) is abroad field that incorporates various platforms and games. These include COTS, serious games
explicitly developed for educational purposes, and virtual worlds (Brown et al., 2018). In
contrast to the teacher-centered grammar-translation methodology, DGBL is studentcentered, allowing for playful social interactions in the target language and often enhancing
student motivation (Anastasiadis et al., 2018).
One of the issues with play and DGBL is that it is difficult to measure, with current playmeasurements such as the Play Observation Scale (Rubin, 2001) focused on classroom
learning scenarios. The current study has developed a new model, the Play and Interaction for
DGBL Model, to resolve this issue by modifying POS for DGBL. The new model uses theconventional social play, cognitive play, and non-play behaviors of POS but has created new
subcategories that better reflect the DGBL environment.
The current 11-week study will use the Play and Interaction for DGBL Model to investigate
how low-level Japanese English language learners play when completing tasks and interacting
over the chat function of the popular game Minecraft. Minecraft, a popular sandpit game, wasselected for this research as the researcher could create tasks within the game that thestudents needed to complete through target language interaction in the chat function within
the game. The study will show how the students in the digital world were observed in thesocial play category for significant periods of time. Social play is theorized to be the locationthat creates opportunities for authentic, student-generated English language output. The
study will also show that student's motivation to learn English through games and theirperception of English language learning through games increased after the Minecraft gaming
sessions. The presenter will conclude with a discussion on DGBL and games such as Minecraft
and its future in the Japanese education system.
References
Anastasiadis, Theofylaktos, Georgios Lampropoulos, and Kerstin Siakas. "Digital game-basedlearning and serious games in education." International Journal of Advances in Scientific
Research and Engineering (ijasre) 4, no. 12 (2018): 139-144.
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Book of Abstracts | Replaying Japan 2021
Brown, Carla L., Mary Ann Comunale, Brian Wigdahl, and Sandra Urdaneta-Hartmann.
"Current climate for digital game-based learning of science in further and higher
education." FEMS microbiology letters 365, no. 21 (2018): fny237.
Nunan, David. "The impact of English as a global language on educational policies andpractices in the Asia‐Pacific Region." TESOL quarterly 37, no. 4 (2003): 589-613.
Rubin, Kenneth. “The play observational scale (POS).” Center for children, relationships, andculture. (2001): 1-23

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Book of Abstracts | Replaying Japan 2021++++++++++“Does the AI Need to Die? – Representation of AI in Japanese Visual Novels Over the Years”
Stanley Wijaya, National University of Singapore
stanley.aw@u.nus.edu
AI has long been part of the fabric of contemporary Japanese science fiction. Early depictionsof artificial intelligence centered around self-determined physical robots such as Tezuka’s
famous Astro Boy, but as our conception of AI shifts so have the ways AI are shown. Morerecent depictions of AI explore their possible presence and influence in our increasingly digital
lives. As AI rapidly evolves beyond a hypothetical science-fiction concept and into ourpractical day to day realities, it is pertinent for us to examine how our sci-fi media has laid thegroundwork in characterizing and explaining what AI are, what they can do, and our fears andaspirations towards them.
This paper looks back on the changing representation of AI as characters in Japanese games:
how they are portrayed, their place in the narrative of these games and the ways humans
interact with them. Whether positioned as malevolent antagonists or personable, intimate
companions, the depiction of AI in games reflects the many ways AI are thought of anddepicted in popular media. Focusing on the game genre of Visual Novels, we narrow the focus
of our analysis towards Japanese games that are narrative centric, with extended stories anda focus on personal relationships, to examine more closely the imagined future shared
between AI and humanity.
Utilizing a paired approach of close reading as well as examining contributions to the Visual
Novel Database (vndb.org), an English language crowd-sourced wiki focusing on the Visual
Novel genre, we investigate how AI as a concept and character developed from the early 2000s
to 2019. The database is used as a starting point, to identify titles which have AI as characterswithin them. From these identified titles, this paper plans on examining a subset of thesegames through the stories they tell, playing through English language translation of thesegames. Games that are planned to be analyzed include early works such as Ever 17 (2002), AI
centric stories such as I/O (2006) and Baldr Sky (2009), to more recent ones such as AI: The
Somnium Files (2019).
Through these games, certain archetypes of AI emerge, as well as patterns with regards totheir role in the stories told. Of note is the exploration of the future relation between humanity
and AI, with different stories tackling different issues that might emerge in an AI-filled future.
From tackling the concept of digital immortality to the issue of disembodied romance, thestories of AI in Visual Novels explore the imagined impact of AI on society, both on the societal
level to its effects on intimate personal relations. Through this research, the paper hopes to
uncover the trends and patterns in the discourse surrounding AI within games.
References
KID. Ever 17: The Out of Infinity. KID. PC/PS2. 2002

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Book of Abstracts | Replaying Japan 2021
Regista. I/O. GN Software. PS2/PC. 2006
Spike Chunsoft. AI: The Somnium Files. Spike Chunsoft. Switch/PC/PS4. 2019
Team Baldrhead. Baldr Sky. Giga. PC. 2009- 20 -

Book of Abstracts | Replaying Japan 2021++++++++++“Japanese Zen Culture in Souls Series”
Haryo Pambuko Jiwandono, University of Brawijaya
hpj03@ub.ac.id
Since its introduction to Japan in 13 th century, Zen has become a pillar philosophy of Japaneseculture (Suzuki, 1959). Zen emphasis on perfect conditioning of body and mind in achievingtasks (Suzuki, 1959). Suzuki (1959) elaborates this premise by giving example of how
samurais, artisans, and religious figures in Japan often took a lot of attention to details in theirfield of work. The purpose of this approach is the erasure of self. Zen dictates that
consciousness in committing task will hinder its success, as self-identity and physical faculty
create disunity (Suzuki, 1959; Saha, 1992). Perfection in completing task can be achieved
through emptiness and total commitment. Zen names this state as muga or non-ego where
one’s being is fully dedicated to the craft; free of distracting thoughts and emotional condition(Suzuki, 1959).
The practice of Zen is centred on rigorous training, where practical steps must be undertaken
meticulously until perfection is reached and become a second nature (Suzuki, 1959; Saha,
1992). The goal of achieving a task is not only the result, but also the betterment of being(Suzuki, 1959; Saha, 1992). Zen also conditions one to not be easily satisfied as the world is achallenging place; similar to Buddhist concept of worldly suffering that will only end when aperson reach enlightment (Suzuki, 1959). The concept of kaizen emphasizes that perfection
can be achieved when there is harmony between a person and their environments. Thisimplies that Japanese culture requires personal goal to be attuned to the environmental
demand as opposed to encouragement of personalized goal in Western culture (Suzuki, 1959;
Saha, 1992).
The Souls series from Japan’s FromSoftware provide an interesting philosophy and practicalimplementations of Zen in digital games. Vella (2015) argues that Souls series generally denyplayers from sense of heroic accomplishment. The game’s environment is filled with mystery,where failure is almost a certainty. Success in Souls series require mastery as players areafforded with a blank-state avatar that needs to be honed. The stake of failure is high, andplayers need to acutely adjust themselves with the series’ often highly demanding ludic
affordances. In contrast with many games of similar convention which are developed in theWest, players cannot rely solely on investment on personalized character build in Souls series.
Instead, they are demanded to perfectly attune their skills with the game.
It is similar to Zen’s philosophy of self as a hindrance to accomplishment, whereas unity of
one’s mind, body and surrounding is of paramount importance in accomplishing task.
Furthermore, Menuez (2017) argues that Souls series embody Buddhist metaphysic in which
the world is bleak and full of uncertainty. Zen’s goal of kaizen also reflects Japanesemasculinity (Hiramoto, 2015).
This proposed full-paper will discuss the expression of Zen in Souls series, with special focus
on the series’ artificial intelligence in affording players’ interaction within Zen’s frameworks.
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Book of Abstracts | Replaying Japan 2021
This proposed full-paper will use qualitative content analysis as its main data analysis methodwith Zen’s concepts of muga and kaizen as its main coding categories.
References
Hiramoto, M. (2015). Wax on, wax off: mediatized Asian masculinity through Hollywood
martial arts films. Text & Talk, 35(1), 1-23.
Menuez, P., X., M. "The Downward Spiral: Postmodern Consciousness as Buddhist Metaphysics
in the Dark Souls Video Game Series" (2017). Dissertations and Theses. Paper 4161.
https://doi.org/10.15760/etd.6049
Saha, A. (1992). "Zen and Industrial Management In Japan". Journal of Managerial Psychology
7(3) Pp. 3 – 9 http://dx.doi.org/10.1108/EUM0000000001736- 22 -

Book of Abstracts | Replaying Japan 2021++++++++++“Kyoto Video Games Business Ecosystems”
William W. Baber, Kyoto University
Arto Ojala, University of Vaasa
baber.williamwilmer.7x@kyoto-u.ac.jp
In Kyoto, the video games segment is well developed with more than 30 businesses identified
plus, of course, a world leading company, Nintendo.
Business ecosystems, in which firms create value as they circulate resources, are interesting
because of their sustainability, robustness, and structures. Building on the concept ofBusiness Models, which have become an important tool for understanding how organizations
function (Osterwalder, Pigneur, and Tucci 2005), this study investigates ecosystems bybuilding an Industry Model (Wirtz 2019). The Industry Model identifies pathways ofinteraction, cycles, and patterns in ecosystems. Kyoto is home to two major ecosystems, one
primarily foreign owned, and one Japanese owned. The two ecosystems are linked by somecommon interests yet remain divided by others. The Industry Model developed for this study
is based on interviews with key participants, including seven firms and a freelancer, as well
as data from public sources. The Industry Model is presented in graphic formats such as wire
diagrams, a conceptual business landscape, topical space developed around hubs, and othermeans.
Further investigation of the ecosystems is based on Topical space, from management
geography studies (Brinkhoff, Suwala, and Kulke 2016), which helps understand how firms
and individuals interact, often indirectly, through topics, events, and issues.
That Kyoto is home to video game firms is mainly due to the presence of Nintendo, but thepresence of foreign owned firms is explained not only by proximity to that leading firm. Someof the founders, and many employees, selected Kyoto for its lifestyle and atmosphere. The
survival and some successes of these firms can be attributed to the drive of the founders as
partly to the impact of the ecosystem (Moore 2016; Fransman 2018) they have created. The
existence of dual ecosystems is all the more interesting in a medium sized, ancient city thatexerts a strong attraction on founders and workers in video games. Of particular interest
among the findings are the topic hubs that activate individuals. These include events,
technologies, concerns about workforce, service providing firms, freelancers, and so on.

References
Brinkhoff, Sascha, Lech Suwala, and Elmar Kulke. 2016. “Managing Innovation in ‘localities ofLearning’ in Berlin and Seville.” Understanding Innovation in Emerging Economic Spaces:
Global and Local Actors, Networks and Embeddedness, 11–32.
https://doi.org/10.4324/9781315549163.
Fransman, M. 2018. Innovation Ecosystems: Increasing Competitiveness. Cambridge, UK:
Cambridge University Press.
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Book of Abstracts | Replaying Japan 2021
Moore, James F. 2016. The Death of Competition: Leadership and Strategy in the Age ofBusiness Ecosystems. New York, NY: HarperCollins.
Osterwalder, Alexander, Yves Pigneur, and Christopher L Tucci. 2005. “Clarifying Business
Models: Origins, Present, and Future of the Concept.” Communications of the Association for
Information Systems 15 (1): 1–43. https://doi.org/10.1.1.83.7452.
Wirtz, Bernd W. 2019. Digital Business Models. Cham: Springer International Publishing.
https://doi.org/10.1007/978-3-030-13005-3_9- 24 -

Book of Abstracts | Replaying Japan 2021++++++++++“Character Affectivity and Temporality in Newton and the Apple Tree”
Henri Nerg, University of Jyväskylä
henri.m.nerg@jyu.fi
This paper studies the character affectivity and temporality in the Japanese visual novel
Newton and the Apple Tree. The paper aims at analyzing different affections and emotions thegame’s characters evoke in players. Uniquely, affect is understood here as aneuropsychological concept derived from Jaak Panksepp’s empirically observed
categorization of seven primary emotions of humans and animals. This theory is accompaniedwith a theoretical framework in the studies of Japanese popular culture, thus placing the study
in its regional context.
The paper first introduces visual novels, their characteristics and relations to othertransmedial forms of Japanese popular culture and other narrative media, especially
videogames. Then the paper introduces affect as a concept derived from neuroscience andrelates it to the characteristics of Japanese popular culture and pornographic media. After thisthe paper analyzes the affects of Newton and the Apple Tree’s fictional characters evoke inplayers based on Panksepp’s categorization of primary emotions and the affects derived fromthem from audiovisual, narrative and temporal viewpoints.
The paper shows how the fictional characters act as major elements in evoking the affects felt
and experienced by the players, as well as how temporality affects them. The paper connects
the qualitative analysis of characters, narrative, and the world surrounding them withquantitative analysis of temporality and categorization of empirically studied primary affects
and emotions. The paper offers an analysis on a subject often neglected but neverthelessimportant parts of the transmedial continuum of Japanese popular culture as well as
videogame culture in general.
References
Newton and the Apple Tree. 2015. Laplacian. Sol Press.
Panksepp, Jaak. 1998. Affective Neuroscience: The Foundations of Human and Animal Emotions.
Oxford: Oxford University Press.
Panksepp, Jaak & Biven, Lucy. 2012. The Archaeology of Mind. Neuroevolutionary Origins of
Human Emotions. New York: W. W. Norton & Company.>>- 25 -

Book of Abstracts | Replaying Japan 2021++++++++++“Japanese Image and Perception in Africa at the Epoch of China’s ‘Dominance’: A Study of
Two Diverse Asian States in Africa- A Case Study on Ghana”
Ohene Opoku Agyemang, Jinan University
Asamaniwa Acquah, Peking University
oopoku56@gmail.com
Japan’s engagement with African states takes a ‘more calm approach’ as opposed to therigorous and progressive model by China. Japanese foreign policy in Africa revolves around
TICAD and shared common values with African states. China on the other hand through
FOCAC traces its South-South cooperation with Africa as the nexus for its stronger ties withthe continent. With the increase in Chinese and Chinese companies in African, the concern israised by the image and perception that African hold about Japan as its presence has been‘sluggish’ of a sort? The diverse state nature of Japan and China have been a developed
economy and with advanced technology that positions Japan in a higher soft power advantage
as opposed China, a developing state. However, with the proliferation of Chinese cheaper
products in Africa, China re-gains ‘dominance’. The study delves into the perceptions
Ghanaians hold about Japan as opposed to China within soft power, that the two states possess.
The study addresses the central research questions by administering a semi-structured
interview guide to 67 respondents. These respondents were purposively sampled. The focusof this research was to assess the growing influence of China in Ghana in a juxtaposition of thealready existed engagements between Ghana and Japan. The study found out that although
China’s presence dominates the minds and sight of Ghanaians, the perception held by
Ghanaians about China as opposed to Japan differs in sociological, technological, values, andapproach.

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Book of Abstracts | Replaying Japan 2021

Session 2“Artificially Human: Xenoblade Chronicles, Astral Chain, and How Language Creates Humanity”
Andrea Mariucci
andrea.mariucci10@gmail.com
While some contemporary branches of robotics research focus on a more sophisticated AI
over a more relatable object for humans to interact with, others take a mixed approach,favouring physical presence as much as they refine the machine’s mental capability for social
interaction (Shaw-Garlock 2009). The latter branch is especially significant, as research on
cognition and HRI (Human-Robot Interaction) has shown the extent to which a robot’s
physical and social presence shapes a person’s reaction to the machine. Namely, how factors
such as motion, physicality, and sound influence our perception of any robot we may interact
with (Giger, et al. 2019; Osawa et al. 2020). Any impression leads to different forms of
categorisation of the robot with which we are interacting (e.g., gender) thereby triggering ourbiases towards any resulting mental construct, as shown by Robustelli (2019). Moreover, theapproximation of artificial intelligence to human consciousness urges scholars to reconsider
the boundaries of human rights as intellect is no longer the defining trait of humanity alone(Petersen 2007).
Bearing in mind the relevance of the relationship between human and artificial existence inthe collective imagination, as demonstrated by the richness of both scholarly and literary
exploration of the topic (Bing 1992; Gilson 1998; Bartneck 2004; Marr 2004; Geraci 2006;
Robertson 2007; Gisondi 2009; Rosiello 2016), the aim of this research is to give a criticalreading of artificial life as depicted in videogames in the spectrum ranging from fear tofascination, demonstrating the role of language in the process of making a character human.
This presentation analyses the representation of mechanical objects and artificial life forms inthree Japanese videogames, in order to acknowledge the contribution of speech to theimbuement of non-human sentient entities with human-like features, as well as its
repercussions on storytelling as a whole. Linguistic and visual signifiers will be considered in
the context of narration and gameplay, as well as the player’s agency in relation to the machine
itself.
The first example to be analysed is that of Xenoblade Chronicles 2 (Monolith Soft 2017). The
game’s weapon system comprises a wide pool of choices, all consisting of anthropomorphic
or beast-like artificial life forms. Our analysis will highlight how not only visual signifiers, butalso the presence of language and its variation within Kinsui’s framework of role language(2003) contributes to character construction. The second object of analysis is Xenoblade
Chronicles (Monolith Soft 2010). The game features machines both as allies and as enemies.
Our analysis will show how language serves to humanise or de-humanise different instancesof robotic characters based on their narrative role in relation to the player. Lastly, this enquiry
considers the game Astral Chain (Platinum Games 2019) and observes in detail how asemiotically barren object – an undecorated, minimalistic vending machine – is given
characterisation through linguistic attribution. Namely, the vending machines show a wide
range of variation in their linguistic uses, not wholly ascribable to role language. In addition- 27 -

Book of Abstracts | Replaying Japan 2021
to that, it will be demonstrated how linguistic specifications inform the user’s experience ofthe environment in which the vending machine is located.
References
Bartneck, Christoph. 2004. “From Fiction to Science – A cultural reflection of social robots.”
Proceedings of the CHI2004 Workshop on Shaping Human-Robot Interaction. Vienna.
Bing, Jon. 1992. “The Image of the Intelligent Machine in Science Fiction.” In Skill and
Education: Reflection and Experience, by Bo Göranzon and Magnus Florin, 149-156. SpringerVerlag.
Giger, Jean-Christophe, Nuno Piçarra, Patrícia Alves-Oliveira, Raquel Oliveira, and Patrícia
Arriaga. 2019. “Humanization of robots: Is it really such a good idea?” Human Behavior &Emerging Technology 111-123.
Gilson, Mark. 1998. “A Brief History of Japanese Robophilia.” Leonardo 31, no. 5: 367-369.
Gisondi, Marcello. 2009. “Ma gli androidi leggono Kant? Le leggi della robotica: un possibile
percorso epistemologico dalla letteratura al diritto [Do androids read Kant? The laws ofrobotics: a possible epistemological path from literature to law].” Il contributo di Law and
Humanities nella formazione del giurista 209-216.
Kinsui, Satoshi. 2003. Virtual Japanese: The Enigma of Role Language. Ōsaka: Ōsaka University
Press.
Marr, Alexander. 2004. “Understanding Automata in the Late Renaissance.” Journal de laRenaissance 205-222.
Monolith Soft. 2010. Xenoblade Chronicles.
—. 2017. Xenoblade Chronicles 2.
Osawa, Hirotaka, Dōjin Miyamoto, Satoshi Hase, Reina Saijo, Kentaro Fukuchi, and Yoichiro
Miyake. 2020. “Saiensu Fikushon ni okeru Jinkō Chinō Byōsha no Bunseki [Analysis ofArtificial Intelligence Depiction in Science Fiction].” The 34th Annual Conference of theJapanese Society for Artificial Intelligence.
Petersen, Stephen. 2007. “The ethics of robot servitude.” Journal of Experimental & Theoretical
Artificial Intelligence 43-54.
Platinum Games. 2019. Astral Chain.
Robertson, Jennifer. 2007. “Robo Sapiens Japanicus: Humanoid Robots and the Posthuman
Family.” Critical Asian Studies 369-398.
Robustelli, Cecilia. 2019. “Robot umanoidi, genere e linguaggio: Siamo della stessa materia di
cui sono fatti i sogni [Humanoid robots, gender, and language: We are such stuff as dreams are
made on].” Lingue e Culture dei Media 3: 1-15.
Rosiello, Vincenza. 2016. “Il volto e l’anima delle macchine nella letteratura inglese [The face
and the soul of machines in English literature].” Scienze e Ricerche 87-99.

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Book of Abstracts | Replaying Japan 2021
Shaw-Garlock, Glenda. 2009. “Looking Forward to Sociable Robots.” International Journal ofSocial Robotics 249-260.

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Book of Abstracts | Replaying Japan 2021++++++++++“Game A.I. As Performance/Performing: a Theoretical Concept for the Japanese Context”
Vincenzo Idone Cassone, University of Turin
idonecassone@gmail.com
At first sight, the Japanese landscape of A.I. may seem contradictory: its industry is often
depicted as underdeveloped in comparison to the Western ones ((Lundin&Eriksson 2016,
Garcia 2019), mirrored in this by the perception of its implementation in games. (e.g. Resetera,
Reddit). On the other hand, Japan is considered one of countries with a deep ‘robotic/A.I.
culture’ (Sone 2016), whose representation in the Japanese mediascape is rich and diversified(Baba 2004, Robertson 2018).
Despite the long-term relationship between games and A.I., only recently researchers began
to discuss the importance of an integrated perspective for its study, one which could makeinteract the dimensions of technology with game design and cognition, to provide mutual
understanding and progress (Togelius 2019: xiv-xv). This integrated frame, however, still
underplays a key dimension: the cultural representation of A.I. in the mediascape and its
broader cultural discourses.
Even before its technological inception, A.I. was part of the cultural imaginary, via tropes ofman-made artificial life and intelligent otherness (Cave et al 2018). Far from separated, theexistence of a relationships between A.I. representations, its technological implementations
and broader social attitude has been suggested by many (Haring et al 2014, Dang and Liu2021). From this perspective the Japanese culture represents a significant object for an
integrated analysis.
The aim of this contribution is to propose a theoretical concept for the debate on JapaneseGame A.I., which make communicate the cultural dimension with the technologic, design andcognitive ones: the understanding of game AI as performance/performing. Symbolicallylinked to Turing’s idea of ‘imitation game’ (Natale 2021:18-32), it identifies two main
complementary cultural rhetorics of intelligence, which reflect specific ludic principles, andtranslate into different forms of A.I. implementations:•on the one hand, intelligence as the ability to efficiently execute a task (performance),
which can be connected to the principle of agon and strategic thinking, and to gamemechanics as formal systems of constitutive rules (Salen and Zimmerman 2004); thistranslates into the different forms of historical AI algorithms of optimisation and efficientdecision (minimax, tree search heuristics, neural networks) and their adaptation into
Game AI of NPCs;•

on the other hand, intelligence as the ability to perform a role by mimicking (human)
behaviour itself (performing), which connects to play as a form of mimicry and makebelieve (Bateson 1956) and to games as theatrical stages for representation; this translates
into the many A.I. techniques of human imitation and communication (NLP, chatbots,
behavioural trees) and their implementations into role-performing scripts of NPCs.
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Book of Abstracts | Replaying Japan 2021
This contribution plans to present the theoretical concept of game A.I. asperformance/performing, describing its complementary sides and their cultural, cognitive,
ludic and technologic dimensions. It will subsequently test its heuristic potential by being
applied to the context of Japanese game A.I. environment, discussing common patterns in theludonarrative depiction of A.I. in games (e.g. Nier Automata, Gnosia), game AI technology (NPC
behaviour in fighting and action games) and societal discourses on Game AI (e.g. debate on
Shogi A.I.).
References
Baba, Nobuhiko. Robotto no bunkashi: Kikai wo meguru so¯zo¯ryoku [Cultural analysis on the
robot: The imagination concerning machines. Tokyo: Shinwasha, 2004 (Ed).
Bateson, Gregory. “The message “This is play””. Group processes: Transactions of the second
conference, edited by B. Schaffner. New York: Josiah Macy Jr. Foundation, 1956.
Cave, Stephen, Craig, Claire, Dihal, Kanta, Dillon, Sarah, Montgomery, Jessica., Singler, Beth,and Taylor, Lindsay (2018). Portrayals and perceptions of AI and why they matter. London: The
Royal
Society.
https://royalsociety.org/~/media/policy/projects/ai-narratives/AInarratives-workshop-findings.pdf
Dang, Jianning, and Liu, Li. “Robots are friends as well as foes: Ambivalent attitudes toward
mindful and mindless AI robots in the United States and China”. Computers in Human
Behavior, 115 (2021): 106612.
Haring, Kerstin Sophie., Mougenot, Céline, Ono, Fuminori, and Watanabe, Katsumi (2014).
“Cultural differences in perception and attitude towards robots”. International Journal of
Affective Engineering, 13(3), 149-157.
Garcia, Guillelmo. Artificial Intelligence in Japan: Industrial Cooperation and Business
Opportunities for European Companies. Tokyo: Japan. 2019.
Kubo, Akinori. Robotto no jinruigaku: Nij_useiki no kikai to ningen [Anthropology of the robot:
The machine and the human in the 20th century]. Tokyo: Sekai Siso¯sha. 2015.
Limniati, Laida. “Human Robot Interaction in Japanese Manga and Anime: Can People Fall inLove with Robots?”. TABOO‒TRANSGRESSION‒TRANSCENDENCE, 163. 2017.
Lundin, Maths, and Eriksson, Sven. Artificial intelligence in Japan (R&D, market and industry
analysis). EU-JAPAN Centre For Industrial Cooperation, 39. 2016.
Natale, Simone. Deceitful media: Artificial intelligence and social life after the Turing test. New
York:Oxford University Press. 2021.
Robertson, Jennifer. Robo sapiens japanicus: robots, gender, family, and the Japanese nation.
Oakland, CA: University of California Press. 2018.
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Book of Abstracts | Replaying Japan 2021
Salen, Katie, and Zimmerman, Eric. Rules of play: Game design fundamentals. Cambridge, MA:
MIT press. 2004
Sone, Yuji. Japanese robot culture. New York: Springer. 2016
Togelius, Julian. Playing smart: On games, intelligence, and artificial intelligence. Cambridge,
MA: MIT Press. 2020.

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Book of Abstracts | Replaying Japan 2021++++++++++“Eagle's Computer Warrior: Japanese Arcades to UK Comics via Licensed Third Party Home
Computer Conversions”
Kieran Nolan, Dundalk Institute of Technology
kieran.nolan@gmail.com
Computer Warrior (originally titled Ultimate Warrior) was a story that ran in Eagle comicfrom 1985 to 1993 (Comic Vine, 2021). Eagle comic launched in 1950, introducing sci-fi
optimism to the UK's adventure and war themed comics market, as embodied through its leadstory Dan Dare, Pilot of The Future (Down The Tubes, 2015). The main protagonist ofComputer Warrior was Bobby Patterson, an English school kid summoned into an alternate
dimension called the Nightmare Zone, where computer games are real, with real life stakes.
Eagle and its publisher Fleetway frequently ran stories promoting toy franchises, andComputer Warrior followed this trend for home videogames. 36 home computer games wereadapted into Computer Warrior stories, several of which were based upon Japanese arcade
conversions produced by US Gold for the European microcomputer market (Wilkins and Kean,
2015). No money exchanged hands for these deals, with both Fleetway and US Gold mutually
benefitting from the promotion (B. Tomlinson, 2021).
This presentation will focus mainly on two Computer Warrior stories, UN Squadron (1990)
and Street Fighter II (1993). Both of these are based upon Capcom arcade games, but exist in
their own continuities within Eagle, creatively merging the ongoing adventures of Bobby
Patterson with the characters and environments of both videogames.
In an interview about his process, Computer Warrior writer James Tomlinson revealed that
he worked solely with the home computer game as the reference, with the aid of cheat codes
to help speed up his progress through the game levels (J. Tomlinson, 2021). Artist Mike Dorey
was supplied with the finished scripts and screen grabs of the games, which were drawn infelt tip and ink (JG586, 2020).
Tomlinson's Street Fighter II script inventively incorporates the backgrounds of the SF2 levels
throughout the story. For example, when Bobby Patterson as Ryu faces Guile, the jet aircraftfrom Guile's USA background flies low, knocking Bobby off his feet. At the Japan stage E Honda
dunks Bobby headfirst into the public bath which is filled with piranha fish, an original
interpretation of the character and his environment.
As with Street Fighter II, Tomlinson's UN Squadron script was written using only the game andpromotional materials supplied by US Gold as reference materials. It presents an alternate
take on the story, produced outside the influence of the original 1970s and 1980s UN Squadron/ Area 88 manga and anime, including a non-manga illustration style. Patterson assumes therole of in-game character Greg Gates. With UN Squadron’s lead Shin Kazama becoming his
antagonist during their joint UN Squadron missions. As mentioned previously, Eagle was partof the war comics genre, and Tomlinson and Dorey's affinity for military avionics is certainly
evident during this story.

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Book of Abstracts | Replaying Japan 2021
Computer Warrior's UN Squadron and Street Fighter II adaptations in Eagle comic originally
had limited exposure beyond their local market. They represent novel cases of videogames
travelling across media boundaries in a pre-internet world, migrating from Japanese arcade
platforms to UK comics via the intermediary layer of the home computer conversions.
References“Bobby Patterson (Character).” Comic Vine, https://comicvine.gamespot.com/bobbypatterson/4005-80654/.
Down The Tubes. “British Comic Characters Profiled | Dan Dare.” Downthetubes.Net, 25 Mar.
2015, https://downthetubes.net/?page_id=20839.
JG586. Mike Dorey Interview - The 2000 AD Thrill-Cast Lockdown Tapes. 2020. YouTube,
https://youtu.be/6Ck3y5R2Qf4.
Tomlinson, Barrie. Email Interview. 5 Jan. 2021.
Tomlinson, James. Email Interview. 8 Jan. 2021.
Wilkins, Chris, and Roger M. Kean. The Story of US Gold. 1st edition, Fusion Retro Books, 2015.

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Book of Abstracts | Replaying Japan 2021++++++++++
Vulnerable Machines—Negotiating Humanity and Life in NieR:Automata and Detroit: Become
Human”
Sebastian Polak-Rottmann, Heinrich Heine University Düsseldorf
Christina Gmeinbauer, University of Vienna
christina.gmeinbauer@univie.ac.atsebastian.sabas@uni-duesseldorf.de
Robots, androids, and artificial intelligence have been a common topic in popular culture. In
describing non-humans as living beings, these works tell intriguing stories about humanity,
human life, and its relation to non-human life. In a similar way as post-humanist theory
criticizes humanism for being a normative structure that “transposes a specific mode of being
human into a generalized standard” (Braidotti 2013, 26), reflections in popular culture onwhat is human and what is not may thus offer intriguing entry points for discussing thepreconditions for an individual to be recognized as ‘life’.
In this paper, we examine two games developed in Japan and France, respectively, toscrutinize how these games define machine lifeforms and how they reflect on (non-)humanlife per se. The games NieR:Automata (Platinum Games 2017) and Detroit: Become Human(Quantic Dream 2018) put the players in the roles of androids, while at the same time
displaying being human as a normative standard for being alive. Intriguingly, both games
discuss ways in which machines become human-like living beings as a result of becoming
vulnerable. Our results show that machine life is clearly framed as non-human and also nonlife in both game worlds. As in both cases, the androids’ bodies can be reproduced easily, thegames introduce androids as invulnerable and immortal beings who are built to obey humans.
However, the games explore different ways in which machines may nevertheless become
vulnerable and thus may be recognized as non-human living beings by others.
Analyzing several sequences of the games, we show that NieR:Automata primarily emphasizes
humans as an idealized norm for androids and other machines, who voluntarily become bodily
vulnerable and mortal in order to imitate humans. In this game, becoming human-like is thus
necessarily linked to the act of becoming vulnerable. Detroit: Become Human, on the other
hand, discusses how androids, despite being mechanically repairable, fear being damaged or
killed and become aware of their non-human vulnerability. This game displays androids as
non-human living beings fighting for acceptance in a human society and thus questions ideasthat postulate being human as a precondition to being alive. While NieR:Automata states thathuman-like lifeforms need to live and die like humans, Detroit: Become Human suggests that
becoming human-like requires to be recognized as equally vulnerable (and thus alive).
In this sense, both games clearly display vulnerability as a precondition to being a human-likelifeform. Most intriguingly, the definitions of life as provided in the games show similarities to
Butler’s concept of vulnerability as a common feature of life (Butler 2006; 2009) and discuss
how humans are constructed as a “generalized standard” for recognizing an individual as
being alive. As we aim to explore in this paper, these games offer thorough reflections on ideas
regarding ‘humans’ and ‘life’ by discussing ‘non-human life’ within these boundaries.
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Book of Abstracts | Replaying Japan 2021
References
Braidotti, Rosi. The Posthuman. Cambridge: Polity, 2013.
Butler, Judith. Frames of War: When Is Life Grievable? London: Verso, 2009.
Butler, Judith. Precarious Life: The Powers of Mourning and Violence. London: Verso, 2006.
Platinum Games. NieR:Automata. PlayStation 4. Tokyo: Square Enix, 2017.
Quantic Dream. Detroit: Become Human. PlayStation 4. San Mateo: Sony Interactive
Entertainment, 2018.

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Book of Abstracts | Replaying Japan 2021++++++++++“Artificial Intelligence and the Equilibrium of Failure”
Hélène Sellier
Laura Goudet
helene.mathilde@gmail.com
Following Aristotelian beliefs, automata are the “intelligent machines” which are completely
different from humans, in a duality where souls are separate from matter (Descartes, 1637).
The concept of robot (and the Czech origin of the word) heavily rely on its physicality and its
use as a servant/slave to humans, once again reaffirming the human/machine duality.
Obviously, these perceptions are culture-dependent (Nomura et al.) Within Japanese
productions, with a clear articulation with otaku culture (Azuma, 2009) and the concept ofmoe (Galbraith, 2014), that is the emotional bond to a character, robots are often studied asemotional entities (Galbraith, 2020), sometimes falling under the spectrum of the Uncanny
Valley (Schneider et al., 2007). We posit the concept of AIs as the mental counterpart to robotic
physicality -- that is, non-organic entities, who eventually turn out to be fallible and ultimately
become offsets to both their perfect programming and humans around them. Yuji Sone’s
concept of “reflexive anthropomorphism” is a good assessment of the way AIs are used as
mirrors of our own consciences and weaknesses (Sone, 2017). Furthermore, the tension
between technophobia and technophilia accounts for some of the shortcomings AIs exhibit(Hennig, 2020).
Following those trails, our main focus will be to highlight the link between physicality andcognition of AIs, especially when they malfunction or fail, as these crises are the
manifestations of the fragile equilibrium they have to maintain.
We endeavor to study a wide set of behaviors in various videogames performed by AIs suchas visuals and audio anomalies, hectic and non-human moves, abnormal relationship to theenvironment. These elements cater to the notion of failure and fragility of these powerfulentities. AIs should be deemed kyaras (Ito, 2005) thanks to their lack of humanity but they areoften well-characterized (Sadanobu, 2015), even if only by their mistakes. The miscalculations
induced by their existences (along with their relative successes) will allow us to draw an
outline of the tenuous balance of the negotiated heteronomy between AIs and humans within
the same universe in-game. We will resort to discourse analysis, whether written or
behavioral, to analyze these discrepancies between the expected and the course of these video
games.
The corpus under study will call on various genres to study how dysfunctional psyches (andbodies, to a certain extent) set these AIs apart from humans, while paradoxically bringing
them closer together. We drew from various games like Action-RPGs (NieR), fighting games(Street Fighter, Xenosaga or Guilty Gear) as well as more visually-inclined genres like visualnovels (Danganronpa) and adventure games (Metal Gear Solid 2: Sons of Liberty).
Those examples exhibit failure as a fundamental part of video game experience, for the humanplayer (Juul, 2013) as well as the AI character. So the numerous inaccuracies and mishaps may- 37 -

Book of Abstracts | Replaying Japan 2021
be common ground for them both, and more than emotions, thought processes or
corporeality.
Primary Sources
Danganronpa, Spike Chunsoft, 2010Metal Gear Solid 2: Sons of Liberty, Konami, 2001.
NieR, Square Enix, 2010-.
Street Fighter, Capcom, 1987-.
Xenosaga, Monolith Soft, 2002-.
References
Azuma, Hiroki (2009). Otaku: Japan’s Database Animal. Univ Of Minnesota Press.
Descartes, René (1637 [2002]). Discours de la méthode: Suivi des Méditations. Paris: É ditions
10-18.
Galbraith, Patrick (2014). The Moe Manifesto: An Insider's Look at the Worlds of Manga, Anime,
and Gaming, North Clarendon: Tuttle Publishing.
Galbraith, Patrick (2020). “Characters, Culture, Platform: Locating Emotional Technology inContemporary Japan”, Conference Desired Identities, New Technology-based Metamorphosis inJapan, Digital International Conference organized as a Live Streaming Event, on the YouTube
channel,
Musée
du
Quai
Branly.
URL:
https://www.youtube.com/watch?v=_rOv5WHDgDw&list=PLq_kZgugXgOGpkUqIpWOd6mR
qlxvzEF-T&index=7
Hennig, Martin (2020). “Playing intelligence: On representations and uses of artificial
intelligence in videogames”. NECSUS_European Journal of Media Studies. #intelligence, n° 1, pp.
151–171. URL: https://doi.org/10.25969/mediarep/14328.
Ito Go (2005). Tezuka izu deddo: hirakareta manga hyogenron. [Tezuka is dead: postmodernist
and modernist approaches to Japan manga]. Tokyo: NTT Shuppan.
Juul, Jesper (2013). The art of failure. MIT Press.
Sadanobu Toshiyuki (2015). “Characters in Japanese Communication and Language: An
overview”. Acta Linguistica, vol. 5., n° 2, pp. 9–28.
Schneider Edward, Wang Yifan, Yang Shanshan (2007). “Exploring the Uncanny valley withJapanese video game characters”, Proceedings of the 2007 DiGRA International Conference- 38 -

Book of Abstracts | Replaying Japan 2021
“Situated Play”, University of Tokyo, vol. 4. URL: http://www.digra.org/digitallibrary/publications/exploring-the-uncanny-valley-with-japanese-video-game-characters/
Sone, Yuji (2017). Japanese robot culture: Performance, imagination, and modernity. New York,
NY: Palgrave Macmillan.
Tatsuya Nomura, Tomohiro Suzuki, Takayuki Kanda, Jeonghye Han, Namin Shin, Jennifer
Burke and Kensuke Kato (2008). “What people assume about humanoid and animal-type
robots: cross-cultural analysis between Japan, Korea, and the United States”, International
Journal of Humanoid Robotics, vol. 5, n° 1, pp. 25–46.

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Book of Abstracts | Replaying Japan 2021++++++++++
Artificial Intimacy: Gynoid and Artificial Intelligence as Visual Novel Game Character
Templates”
Luca Paolo Bruno, Universität Leipzig
bruno@hdm-stuttgart.de; lbruno010@gmail.com
Kikaijikake no Eve -Dea Ex Machina- (Ninetail 2006) is a visual novel work whose focus is on
on providing narrative experiences of intimacy between the player and one or morecharacters. Dea Ex Machina is a lone release amidst a massive and scattered production thatsees an average of five-hundred releases each year (Kōyama, Kobayashi-Hichibe andNakamura 2019). The game, however, stands out for featuring a cast of romanceablecharacters composed largely of gynoids, artificial intelligences in female bodies capable ofsimulating and eventually feeling human-like emotions.
In games such as Dea Ex Machina, a gynoid character is one of many design templates sharedacross visual novel and visual novel-contiguous content production. It is part of a character
database serving as a meta-genre for works in the field (Azuma 2007: 45-48). Gynoid
characters feature across themes and settings, from the high school romantic comedy ofToHeart (Aquaplus 1997) to the futuristic tale of man-machine intimacy detailed in ATRI -My
Dear Moments- (Frontwing 2020). In these tales of intimacy for males, players interacting withgynoids come to term with their capability for human-like emotion and what it means to be
human. At the same time, they highlight a repeating pattern of AI envisioned as acomplementary but subaltern counterpart to humans, a metafictional reflection of therelationship between players and the characters of video games such as Dea Ex Machina (cf.
Galbraith 2019, 8-16).
Contrasting the many gynoid characters found in games such as Dea Ex Machina, there is a
dearth of android characters in visual novel games, especially those featuring a cast of maleromanceable characters. Within visual novel works and contiguous media, it seems artificial
intelligence is female, complementary but subaltern to a male human. Beyond these surface
considerations, gynoid characters elicit further inquiries, especially when the lack of actual
artificial intelligence in visual novel games is considered. As a template for character design,a character’s status as a gynoid elicits aesthetic reproduction and continuity with existing
characters in the field of visual novel works. It projects arrays of potential interaction andnarratives, making content reception and reproduction freeform, but not open-ended.
The need for aesthetic continuity and reproduction challenges the open-ended nature ofactual artificial intelligence algorithms. Gynoid characters have a prescribed position vis-à-vis
the player and the other characters, subaltern and complementary. How does the position of
the character reconcile with the actual AI systems it takes inspiration from? Is the character
merely a reflex of users’ fetishism for technology (cf. Lamarre 2009, 320) subsumed into thecharacter database or does it acknowledge something more? What are the implications for thewider culture of visual novel games?

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Book of Abstracts | Replaying Japan 2021
References
Azuma, Hiroki. Gēmuteki Riarizumu no Tanjō: Dōbutsukasuru Posutomodān 2 [The Birth ofGame-like Realism: The Animalizing Postmodern 2]. Tōkyō: Kōdansha, 2007.
Galbraith, Patrick W. Otaku and the Struggle for Imagination in Japan. Duke University Press,
2019.
Kōyama, Yūsuke, Nobushige Kobayashi-Hichibe, and Jin Nakamura “Structure of PC Visual
Novel Game Industry in Japan”, Conference Presentation, DiGRA 2019 - Game, Play and theEmerging Ludo-Mix, Kyoto, Japan, August 6-10th, 2019.
Lamarre, Thomas. The anime machine: A media theory of animation. Minneapolis: Universityof Minnesota Press, 2009.

- 41 -

Book of Abstracts | Replaying Japan 2021++++++++++“You Must Be Tired After Today. Let's Go to Sleep”
Susana Tosca, Roskilde University
Victor Navarro-Remesal, Tecnocampus, Universitat Pompeu Fabra
stosca@ruc.dk
So says Morgana often in Persona 5, preventing the player from going out at night or reading
their book at leisure. It is a semi-open world, but the player is not free to make bad decisions
like pulling unhealthy all-nighters. Morgana is a personal assistant in the shape of a humanoid
cat that is always ready to remind the player what is reasonable to do and how the gameworld
works. He (the game insists it is a he despite the feminine name and being voiced by a woman)
dreams of becoming human, and conceals his fragility under a cocky, humorous surface.
Cute humanoid helpers like Morgana are common in Japanese videogames: Sophia (Persona
Strikers), Orion (Amnesia: Memories), Fi (The Legend of Zelda: Skyword Sword), to some extent
A.C.U.A.C. (Mario Sunshine). They all establish playful relations with the player and generate
different kinds of affect. They are related to fictional characters in other media (like in thefilms Tron and Silent Running or the anime Uchū Densetsu Yurishīzu Sātīwan), virtual pets likethe Tamagotchi, previous usability enhancements like Microsoft´s Clippy, the newest
generation of AI assistants (Cao et.al. 2019; Wagner et.al. 2019) like Alexa, Siri, or even Azuma
Hikari. While the topic of AI/robots with personality and even emotions is not new (Rousi,
2009; Berque, 2020), videogames need to convey instructions to the player in seamless ways,
and the adorable helpers are a way to make this functionality a part of the gameworld. But
why are these all-knowing entities portrayed as childish and cute (Dale, 2017)? Why are theyoften thematized as belonging to a spirit world, as if the machinic connotations of an AI had tobe hidden? Why do they want to be human?
We conceptualise this trope as the “kawaii AI companion”, after the “fairy companion” trope
present in The Legend of Zelda games and emphasizing their kawaii aesthetics, an appearance
that make them seem unthreatening and lighthearted, but also contradictory, and evenruthless, “vulnerable and in need of protection but also defiantly self- sufficient” (May, 2019).
Our contribution interrogates the nature of these characters (Wilde 2019; Lamerichs 2019),
the kind of intimacies that are created (Søndergaard & Koefoed Hansen, 2018; Lopatovska
et.al. 2020; Aoki & Grainer, 2020), their gendering (Pietronudo, 2018; Dupré, 2020: McIntyre,2020), and their kawaii entanglements (Schules, 2015; Sugano & Tomiyama, 2019; Okada etal., 2020).
The talk will take its point of departure on our ambivalent experience of interacting with cutehumanoid assistants as players of Japanese videogames. It will be shaped as a performed
dialogue between the annoyed (but also charmed) researchers and their helpful AI assistant.
References
Aoki, Beatriz Yumi, and Christine Greiner. "Affective market in Japan: a study on Gatebox andloving relationships with characters/Mercado de afetos no Japao: um estudo sobre Gatebox e- 42 -

Book of Abstracts | Replaying Japan 2021
o convivio amoroso com personagens." Comunicacao, Midia E Consumo
295-322.

17.49

2020:

Berque, Dave, et al. "Fostering Cross-Cultural Research by Cross-Cultural Student Teams: A
Case Study Related to Kawaii (Cute) Robot Design." International Conference on HumanComputer Interaction. Springer, Cham, 2020.
Cao, Cuicui, Ling Zhao, and Yingying Hu. "Anthropomorphism of Intelligent Personal
Assistants(IPAs): Antecedents and Consequences." PACIS. 2019.
Dale, Joshua Paul. The Aesthetics and Affects of Cuteness. New York: Routledge, Taylor &Francis Group, 2017.
Dupré, Delphine, et al. "Les dimensions genrées des dispositifs technologiques à vocation
relationnelle. Le cas de l’assistante virtuelle Azuma Hikari." Communication. Information
médias théories pratiques 37.2 2020.
Lamerichs, Nicolle. 2019. “Characters of the Future: Machine Learning, Data and Personality”.
Image, 29. (Special issue: Recontextualizing Characters)
Lopatovska, Irene, Elena Korshakova, and Tracy Kubert. "Assessing user reactions tointelligent
personal assistants’ humorous responses." Proceedings of the Association for
Information Science and Technology 57.1 2020: e256.
May, Simon. The Power of Cute. Princeton University Press, 2019.
McIntyre, Anthony P. "Gendering Cuteness." (2020). In The International Encyclopedia of
Gender, Media, and Communication. New Jersey: Wiley.
Okada Y, Kimoto M, Iio T, “Shimohara K, Nittono H, Siomi M. “Can a Robot's Touches Express
the Feeling of Kawaii toward an Object?”, IEEE/RSJ International Conference on Intelligent
Robots and Systems (IROS) October 25-29, 2020, Las Vegas, NV. 2020.
Pietronudo, Eleonora. " Japanese women's language" and artificial intelligence: Azuma Hikari,gender stereotypes and gender norms. BS thesis. Università Ca'Foscari Venezia, 2018.
Rousi, Rebekah. "“Cute” displays: Developing an Emotional Bond with Your Mobile Interface."
2009.
Schules D. “Kawaii Japan: Defining JRPGs through the cultural media mix”. Kinephanos: Journalof Media Studies and Popular Culture. Dec;5: 53-76. 2015.
Søndergaard, Marie Louise Juul, and Lone Koefoed Hansen. "Intimate futures: Staying with thetrouble of digital personal assistants through design fiction." Proceedings of the 2018
Designing Interactive Systems Conference. 2018.

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Book of Abstracts | Replaying Japan 2021
Sugano S., Tomiyama K. “Kawaii-ness in Motion”. In: Ohkura M. (eds) Kawaii Engineering.
Springer Series on Cultural Computing. Singapore: Springer. 2019.
Wagner, Katja, Frederic Nimmermann, and Hanna Schramm-Klein. "Is it human? The role ofanthropomorphism as a driver for the successful acceptance of digital voice assistants."
proceedings of the 52nd Hawaii international conference on system sciences. 2019.
Wagner, Katja, and Hanna Schramm-Klein. "Alexa, are you human? Investigating
anthropomorphism of digital voice assistants–a qualitative approach." 2019.
Wilde, Lukas RA. "Recontextualizing characters: Media convergence and pre-/meta-narrative
character circulation." IMAGE: Journal of interdisciplinary image science 29. 2019: 3-21.

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Book of Abstracts | Replaying Japan 2021

Session 3“Game Live Streaming in the Japanese Context: Initial Findings”
Mark Johnson, University of Sydneymarkrjohnsongames@gmail.com
The live streaming of digital gaming has emerged in the past half-decade from an origin in“esports” to become a major component of global game culture (Taylor, 2018). In mostcountries this broadcasting is exemplified by the platform Twitch, which boasts several
million broadcasters and well over one hundred million viewers (Johnson & Woodcock, 2017),
but this is not the case everywhere. In Japan, for example, we see a number of different live
streaming services, but the dominant one is “Niconico”. Despite the rising impact of live
streaming and the significant amount of gaming broadcast on Niconico, the (English-language)
literature on game live streaming in Japanese, and the (English-language) literature on
platform Niconico, are both scarce. One existing article which stands out is the work of
Steinberg (2017) who explores the various sorts of content found on the platform - including
mentions of gaming broadcasts - and situates their research in the context of the Japanese“media mix” (Steinberg, 2012; Ogonoski, 2014; Remesal & López, 2015; etc). This, however, is
all there is to be seen, and the paper in question does not focus specifically on gaming nor on
the streamers themselves.
As such, this paper will present initial findings from ongoing interview-based data collection
with Japanese game live streamers, the first English-language project to address this area ofstudy. Funded by the Japanese “Hoso Bunka Foundation” the project is interviewing several
dozen Niconico and Twitch Japanese game live streamers to understand what game live
streaming in the Japanese context (linguistic, cultural, national, regulatory, economic) entails.
The paper begins with a literature review covering live streaming and the Japanese gaming
context, before proceeding to the project and its initial findings. Firstly, it will consider thegames played by Japanese streamers; although dating games, JRPGs and other genres
traditionally associated with Japan are broadcast by non-Japanese streamers, they are(unsurprisingly) dominant on Niconico and the Japanese portion of Twitch. I will discuss what
interviewees had to say about these games, their selection of games, and the relationships
between the games chosen and the communities to which they broadcast. There is also an
intriguing prevalence and visibility of puzzle games such as Sudoku and arcade-style games
such as Tetris, and the presentation will examine this in the context of Japan’s continuing
arcade culture and its global dominance in logic puzzles via domestic producer Nikoli (cf.
Johnson, 2019). Secondly, I will present findings on Japanese streamers’ perspectives in
economic and professional terms - what do these broadcasters think about the potential toearn money or potentially a living from streaming? Many English-language streamers arehighly aspirational (Johnson et al, 2019), and this second part of the paper will present analternative case study of game streaming orientations and motivations. These two initialquestions will help to frame the phenomenon of Japanese-language game live streaming in its
cultural and national contexts while developing illustrative comparisons and commonalities
with their English-language counterparts, and thus presenting directions for future study.

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Book of Abstracts | Replaying Japan 2021
References
Johnson, Mark Richard. Casual games before casual games: Historicizing paper puzzle games
in an era of digital play. Games and Culture 14, no. 2 (2019): 119-138.
Johnson, Mark Richard, Mark Carrigan and Tom Brock. The imperative to be seen: The moral
economy of celebrity video game streaming on Twitch.tv. First Monday 24, no. 8 (2019).
Johnson, Mark Richard and Jamie Woodcock. ‘It’s like the gold rush’: the lives and careers ofprofessional video game streamers on Twitch.tv. Information, Communication & Society 22, no.
3 (2019): 336-351.
Ogonoski, Matthew. Cosplaying the media mix: Examining Japan's media environment, its
static forms, and its influence on cosplay. Transformative Works and Cultures, 16, 2014.
Remesal, Victor Navarro, and Antonio Loriguillo López. What makes gêmu Different? A look at
the distinctive design traits of Japanese video games and their place in the Japanese media mix
2, no. 1 (2015): 1-18.
Steinberg, Marc. Anime's media mix: Franchising toys and characters in Japan. U of Minnesota
Press, 2012.
Steinberg, Marc. Converging contents and platforms: Niconico video and Japan’s media mix
ecology. Asian video cultures: In the penumbra of the global (2017): 91-113.
Taylor, TL. Watch me play: Twitch and the rise of game live streaming. Princeton University
Press, 2018.

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Book of Abstracts | Replaying Japan 2021++++++++++“Agent-Based Sugoroku Analysis Using Double Sixes”
Nathan Altice, University of California, Santa Cruz
Jared Pettitt, University of California, Santa Cruz
naltice@ucsc.edu
jpettitt@ucsc.edu
In Japan, 双六 sugoroku—or “double sixes”—is a centuries-old form of Japanese board gamewherein players roll a pair of dice to move their pawns from start to finish as quickly as
possible. While sugoroku’s early form resembled abstract race games like backgammon, theadvent of block printing in Japan transformed sugoroku into a highly pictorial form. Eachsugoroku board comprises a dozen or more illustrated spaces, with text informing the playerof their next move and a small bit of description about the space’s illustration. Sugoroku could
feature nearly any content or subject matter—travel, history, ghost stories, religious lessons,and more.
While sugoroku games are prevalent in Japanese culture, they are largely unknown outside
Japan, due in part to their waning popularity over recent decades, their scarcity outside Japan,
and the language barrier that bars their accessibility. Yet sugoroku, as a formal model,
structures thousands of Japanese board games developed across multiple centuries.
Double Sixes is an online application designed to annotate and analyze sugoroku. Users canupload images, input metadata (e.g., dimensions, material, artist, theme, etc.), transcribe andtranslate text, annotate boards, and draw connections between spaces (see Figs. 1 & 2 below).
Once complete, the board and metadata are added to a database as a structured JSON object,
where they can be viewed, edited, and downloaded.
Double Sixes implements agent-based modeling, an artificial intelligence technique that uses
autonomous AI “agents” to model systems, in this case the “system” of a sugoroku board. By
tracking agents’ behaviors and interactions through the system, Double Sixes analyzes board
structures and “plays” the game thousands of times. The data it captures helps identify playpatterns, design motifs, and player outcomes, both within an individual board, as well as
across genre, designer, time period, etc.
During our online session, we will present a short application demo; discuss its design,interface, and programming; and demonstrate a sample “run” of agent-based play, along with
its subsequent analysis. Our paper will contextualize sugoroku as a historical form, provide
an in-depth technical discussion of the application’s computational design and processes, anddiscuss both the formal and interpretive results of our agent-based analysis.
The project’s goal is to promote the historical study of sugoroku (as well as the hundreds ofgames that use its style and form), make the study of Japanese games publicly accessible
online to both Japanese and English speakers, and gain new insights into the structure anddesign of these games. Long-term, the application (and subsequent work built upon thisproject) will promote the accessibility and study of not only sugoroku, but hundreds of games- 47 -

Book of Abstracts | Replaying Japan 2021
that use its style and form. To date, no historical game annotation, analysis, and archival
project of this kind exists, so it represents a significant contribution to both games research
and Japanese studies, fusing interpretive humanities research with computational analysis.

Fig. 1. An example of Double Sixes’ metadata editing tools.

Fig. 2. An example of Double Sixes’ space annotation and connection tools.

- 48 -

Book of Abstracts | Replaying Japan 2021++++++++++“A Study on the Relationship between “Video Game Uses and Gratifications” and “Creative
Attitudes” among University Students Majoring in Digital Game Development”
Fukui Masanori, Tokushima University
Yuji Sasaki, Keio University
Jo Hagikura, Kwansei Gakuin University
Masakatsu Kuroda, Kobe Women's University
f-masanori@tokushima-u.ac.jp
The purpose of this study is to examine the relationship between video game use andgratification, and the creative attitudes of students majoring in digital game development anddesign. An exploratory survey was conducted using Iguchi's "video game uses andgratifications" scale to understand game use and satisfaction, and using Shigemasu's "creative
attitudes" scale. The results showed significant correlations between the sub-factors of"achievement" and "perseverance," "friends" and "entrepreneurship," "perseverance" and"cooperation," as well as between "study" and "analytical problem solving," and"entrepreneurship." On the other hand, no factor of the creative attitudes scale and video
game uses and gratifications scale was significantly associated with "fantasy," "recognition,""diversion," "flexibility," or "imagination." This suggests that it may be essential to understandhow the game is used and how it is satisfying to evoke creative attitudes.
Research Background
Watanabe and Nakamura (2014) stated that games are a medium in which players actively
participate and that it is easy to enter a flow state. A flow state occurs when the player isimmersed in something and is in a state of extreme concentration. Csikszentmihalyi (1990)
stated that we enter a flow state when we engage in something we like, and as a result,creativity is exhibited. Therefore, playing our favorite games may help us exercise ourcreativity. However, even if we like games, creativity may differ depending on how we engage
in the game. Fukui et al. (2021) examined the relationship between Iguchi's "video game usesand gratifications" scale (Iguchi 2013) and creativity (Munzert 1980). They found that amongthe "fantasy,"recognition,"achievement," and "study" were significantly related to creativity.
On the other hand, many students seem to have never demonstrated their creativity;
therefore, it is important to develop creative attitudes, such as creativity-as-readiness.
Creative attitudes are not based on fixed and routine-scripted problem-solving methods, butrather on "asking questions,"being curious," and "always trying to improve without fear of
danger" (Schank and Childers 1988). Enhancing these creative attitudes is very important ineducation, including game education. Therefore, it is important to focus on the relationshipbetween "video game uses and gratifications" and "creative attitudes." However, previous
research has not assessed this relationship.

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Book of Abstracts | Replaying Japan 2021
Methods and Results
A questionnaire survey was conducted among 90 second-year university students specializing
in game development. In the survey, the "game uses and gratifications" scale (Iguchi 2013)
and the "creative attitudes" scale (Shigemasu et al. 1993) were used. The results of the survey
showed significant correlations between "achievement" and "perseverance,"friends" and"entrepreneurship,"perseverance" and "cooperation;" further, "study" was associated with"analytical problem solving," and "entrepreneurship." On the other hand, there were no itemswith significant associations for "fantasy,"recognition," and "diversion," or "flexibility" and"imagination." This suggests that it may be important to understand how the game is used andhow it is satisfying to evoke creative attitudes.
Table 1. Inter-item correlations
(1)

(2)

(3)

(4)

(2)

0.33**

1.00

(3)
(4)

0.31**
0.34**

(5)
(6)
(7)
I
II
III
IV
V
VI

(5)

(6)

(7)

I

II

III

IV

0.20†
0.35**

1.00
0.25*

1.00

0.20†
0.23*
0.33**
-0.13
-0.07
0.11
0.00

0.27**
0.07
0.29**
0.08
-0.01
0.06
0.12

0.23*
0.35**
0.13
0.08
0.03
0.11
-0.04

0.27*
0.27*
0.31**
0.17
0.12
0.16
0.24*

1.00
0.33**
0.18†
0.37**
0.09
0.25*
0.22*

1.00
-0.03
0.15
0.21*
0.18
0.12

1.00
-0.14
-0.09
-0.06
0.06

1.00
0.56**
0.45**
0.62**

1.00
0.38**
0.64**

1.00
0.47**

0.11
0.04

0.03
0.17

0.14
0.06

1.00

0.08
0.12

0.08
0.33**

0.14
0.05

-0.10
0.10

0.24*
0.33**

0.18†
0.19†

0.42**
0.49**

0.08
0.29**†p< .10,**p< .05, **p< .01

V

1.00
0.27*
(N=90)(1) fantasy, (2) recognition, (3) preference, (4) achievement, (5) friends, (6) study, (7) diversion,
I: flexibility; II: analytical problem solving; III: entrepreneurship; IV: perseverance; V: imagination; VI: cooperation.

References
Csikszentmihalyi, Mihaly. Flow: The Psychology of Optimal Experience, New York: Harper &Row, 1990.
Fukui, Masanori, Sasaki Yuji, Moriyama Jun, and Hirashima Tsukasa. "An Examination of theRelationship between "Creativity" and Video Game Uses and Gratifications" among University
Students Majoring in Digital Game Development or Design" Journal of Digital Games Research,
vol. 14, no. 1 (2021): 1-9. (in Japanese)
Fukui, Masanori, Sasaki Yuji, Hagikura Jo, Moriyama Jun, and Hirashima Tsukasa. "A Study on
the Relationship between Motivation for Gaming and Creativity in Students who Major inVideo Games Development or Design, The 13th Digital Games Research Association Conference,(2020):1-4.
Accessed
June
28,
2021.
http://www.digra.org/wp-content/uploads/digital-library/DiGRA_2020_paper_90.pdf.

- 50 -

Book of Abstracts | Replaying Japan 2021
Iguchi, Takanori. "An Investigation into Video Game Use by University Students with a
Particular Focus on Game Genre and Motivation" The Journal of Japan Society of Information
and Communication Research, vol. 33, no. 2 (2015): 41–51. (in Japanese)
Munzert, Alfred W. Test your I.Q, New York: Monarch Press, 1980.
Schank, Roger, and Childers Peter. The Creative Attitude, NewYork: Macmillian Publising
Company. 1988.
Shigemasu, Kazuo, Yokoyama Akiko, Stern Sam, and Komazaki Hisaaki. "Comparison ofCreative Attitudes between American and Japanese Students: A Factor Analytical Study" TheJapanese Journal of Psychology, vol. 64, no. 3 (1993): 181-90. (in Japanese)
Watanabe, Syuji, and Nakamura Akinori, Why are People so Obsessed with Games: The Essenceof "Game Preference" from the Development Field, Tokyo: SB Creative, 2014. (in Japanese)- 51 -

Book of Abstracts | Replaying Japan 2021++++++++++“Educational Game Creation & Critical Translation in RPG Maker MV”
Ryan Scheiding, Concordia University
Mimi Okabe, University of Alberta
ryanscheiding@yahoo.ca
This project undertakes a critical translation of a completed educational video game designed
in RPG Maker MV, Nagasaki Kitty (2021), as a way of expanding the game’s pedagogicalpossibilities, exploring the challenges of translating from English to Japanese within the RPG
Maker MV software, and interrogating critical game design.
Nagasaki Kitty is an educational game playable on PC and MAC and available through itch.io.
It is inspired by the short stories of Hayashi Kyoko (Hayashi 1985; Hayashi 1989). The game,
which is a response to calls for better recognition of the victims of the atomic bombs (Jacobs
and Zwigenberg 2020; Minear 1995), is designed to teach North American audiences about
the victims of the atomic bombing of Nagasaki. This project highlights how the game can beused as a learning tool for students taking advanced Japanese classes such as translation. It
also engages in a translation of the original English text into Japanese to show the possibilities
of using the game as a “text” to support students studying Japanese (and about Japan) bydeepening their understanding of the language, history, and culture.
While building on established theory regarding the historical and pedagogical value of video
games and the nuances of video game translation (Chapman 2016; Mangiron and O’Hagan
2006; Mangiron Hevia 2007; Squire 2004), the demo of the project will display howtranslation of the original English text into Japanese has been undertaken. The goal of thedemo is to provide an outline of the pedagogical goals of the project, explore the particularchallenges of translation within RPG Maker MV, and to visually display how translation of thegame was accomplished.
For the purposes of the RePlaying Japan Conference this will take the form of a 5-minute video
which shows gameplay and recording of the UI from the designers’ perspective. This will beaccompanied by voiceovers by the designer of the original English language version of thegame and the translator of the Japanese version of the game which summarize the findings ofthe project.
References
Chapman, Adam. Digital Games as History: How Videogames Represent the Past and Offer Accessto Historical Practice. New York: Routledge, 2016.
Hayashi Kyoko. “The Empty Can.” In The Crazy Iris and Other Stories of the Atomic Aftermath.
Edited by Kenzaburo Oe, 127-143. New York: Grove Press, 1985.
Hayashi Kyoko. “Two Grave Markers.” In The Atomic Bomb: Voices from Hiroshima andNagasaki. Edited by Kyoto and Mark Selden, 24-54. Armonk, New York: M. E. Sharpe, Inc., 1989.
- 52 -

Book of Abstracts | Replaying Japan 2021
Jacobs, Robert and Ran Zwigenberg. “The American Narrative of Hiroshima is a Statue thatMustbeToppled.”Counterpunch.
August6,2020.
https://www.counterpunch.org/2020/08/06/the-american-narrative-of-hiroshima-is-astatue-that-must-betoppled/?fbclid=IwAR32UYU1sISDPgEVmTeM7LSVH41wVIMu72rFtzCs_LRW__5b1C1mk9U
dV50.
Mangiron, Carmen and Minako O’Hagan. “Game Localisation: Unleashing Imagination with
‘Restricted’ Translation.” The Journal of Specialised Translation 6 (July 2006): 10-21.
Mangiron Hevia, Carmen. “Video Games Localisation: Posing New Challenges to theTranslator.” Perspectives: Studies in Translation Theory and Practice 14, No. 4 (2007): 306323.
Minear, Richard H. “Atomic Holocaust, Nazi Holocaust: Some Reflections.” Diplomatic History
19, No. 2 (Spring 1995): 347-365.
Squire, Kurt D. “Replaying History: Learning World History Through Playing Civilization III.”PhD diss., Indiana University, 2004.

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Book of Abstracts | Replaying Japan 2021++++++++++“Characteristics of Computer Game Players in Japan, the U.K. and China: Results of anInternational Comparative Survey”
Nobushige Kobayashi, Tohoku Gakuin University
Yuhsuke Koyama, Shibaura Institute of Technology
Ema Tanaka, Meiji University
natsunokumo2008@gmail.com
1. Purpose
Most of the research on computer game players that has been conducted in Japan andoverseas was based on the analysis of player characteristics based on data obtained from
qualitative surveys (Newman 2008; Kato 2011; Crawford 2012; Matsui et al. eds. 2019).
Quantitative surveys of computer game players have also been conducted (Sakamoto 2003;
Tanaka and Yamaguchi 2015), but there are not many academic international comparative
surveys.
Therefore, this study aims to clarify the characteristics of game players in Japan, the U.K.
and China, where the consumption of computer games is particularly active, based on aquantitative social survey. Specifically, we will find out how many people in each region
engage in various activities related to computer games, and what kind of thoughts and abilities
players in each region tend to have about games. In addition, based on the results of theProgramme for International Student Assessment (PISA), which showed that the ICT use andliteracy of Japanese students is lower than that of students in other OECD countries, this study
hypothesizes that "in Japan, the proportion of people who engage in game-related activities islower and the proportion of people who have negative attitudes toward games is higher thanin the UK and China.
2. Method
We conducted an Internet survey of game players and analyzed the collected data. The
survey was commissioned to Macromill, Inc. and was conducted using a web form-based
system. The population was the company's monitor members, and 3,090 monitors aged 1059 were selected by the allocation method based on gender, age, and country. Valid responses
were obtained from 2,060 monitors in Japan, 515 in the UK, and 515 in China. The valid
response rate was 100%.
The main questions were: ICT literacy, ownership and use of ICT, usual game-related
activities (e.g., live game playing, fan art creation), attitudes toward games and life, frequencyof watching game playing/strategy videos, amount of money spent on games and hobbies, andface questions (size of city of residence, last education, occupation, annual income).

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Book of Abstracts | Replaying Japan 2021
3. Results and Discussion
Statistically significant differences were found among computer game players from thethree countries in their gaming activities, attitudes, and abilities. Specifically, the following
differences were found.
1) Various game-related activities were more active in China and the UK than in Japan.
2) The number of days spent playing games and watching game playing videos per week
was higher in the UK and China than in Japan.
3) The evaluation of computer games was higher in China and the UK than in Japan.
These results support the hypothesis of this study. This result is important for clarifying thecharacteristics of game players in Japan, the UK, and China. However, there is room for further
exploration in the setting of the population, sampling, and interpretation of the results
obtained in this study, and this is an issue for the future.
References
Crawford, Garry. 2012. Video Gamers. London: Routledge.
Kato, Hiroyasu. 2011. Game Center Culture: Communication in Media Society. Shinsensha.
(Japanese)
Matsui, Hiroshi, Takanori Iguchi, Masumi Oishi, Mikako Hata, eds. 2019. Pluralizing Game
Culture and Society. Tokyo: New Games Order. (Japanese)
Newman, James. 2008. Playing with Videogames. London: Routledge.
Sakamoto, Akira, ed. 2003. Media and Human Development: The Psychological Impact of
Television, Video Games, the Internet, and Robots. Tokyo: Gakubunsha. (Japanese)
Tanaka, Tatsuo, Yamaguchi Shinichi. 2015. Business Models for Social Games: An Economic
Analysis of Freemium. Tokyo: Keiso Shobo. (Japanese)- 55 -

Book of Abstracts | Replaying Japan 2021++++++++++“A Development Process, Scale and Scope of Console Game Industry in Japan: ThroughAnalysis of a Multiple Connected Dataset”
Yasushi Hara, Hitotsubashi University
Kazufumi Fukuda, International Professional University in Osaka
Akito Inoue, Ritsumeikan university
Fumihiko Ikuine, Chuo Univeristy
fukudakz@gmail.com
How has the Japanese game industry developed? What impact have the changes in gamehardware and the emergence of smartphones had on the game industry? There have been
several studies addressing this question (Shintaku et al. 2003, Storz 2008, Uemura et al. 2013,
Koyama 2016). Most existing studies, however, have primarily relied on qualitative researchmethods, based on surveys and interviews of respondents. In contrast, this study tackles thesame question with a data science approach. By doing so, we hope to complement the resultsof previous studies.
We will combine several databases created for different purposes in our approach. One suchdatabase is that of Teikoku Databank (Corporate DB), which provides information on thefinancial and credit standing of companies. The others are the "RCGS Collection," a catalog of
the holdings of the Game Research Center of Ritsumeikan University, and the "Media Arts
Database," a comprehensive catalog of media arts by the Agency for Cultural Affairs(bibliography DBs), which were created to understand the cultural value of games. Using thebibliography databases to link the entities of organizations involved in publishing anddeveloping products to the aspects of corporate management in the corporate database, we
aim to clarify both the reality of the economy that supports culture and the context of culture
created from economic intentions. This study focuses on the same market among the gameindustry since the main target of the bibliographic database is home video game software(Console Game Industry).
Based on the dataset we developed, we verified existing findings about the size and scope of
the industry and discovered new ones. In terms of the number of companies involved in theindustry, the 2000s represented the largest number. As for the number of companies entering
the industry, we found it increasing continuously until the early 2000s, and then stagnating
after 2010 (Figure. 1). For the average number of employees, we confirmed a gradual decrease
until the early 2000s (Figure. 2). Additionally, we found that capital increased rapidly in the
1980s (Figure. 3), and sales decreased after the mid-1990s (Figure. 4).
Our future plans include using transaction data from the corporate database in order to clarify
the formation and development of transaction networks. We will also examine the effect of
events such as the shift in game hardware generations and the emergence of smartphones.
With our presentation at Replaying Japan, we hope to discuss with participants thepossibilities and challenges of game research with a data science approach.

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Book of Abstracts | Replaying Japan 2021
References
Abernathy, William J. 1976. “The Productivity Dilemma; Roadblock to Innovation in the
Automobile Industry.”
Aldrich, Howard E, and C Marlene Fiol. 1994. “Fools Rush in? The Institutional Context ofIndustry Creation.” Academy of Management Review 19 (4): 645–70.
Freybe, Konstantin, Tracy Hoffmann, André Lahmann, Peter Mühleder, Florian Rämisch,
Leander Seige, and Martin Roth. 2019. “Praise the Data ＼o/! Three Data-Driven
Perspectives on FromSoftware Videogames.” In Replaying Japan Conference Abstract, 162–
63.
Fukuda, Kazufumi, Fumihiko Ikuine, Akito Inoue, Moriyuki Shigehara, and Hiroshi Shimizu.
2019. “A Methodological Study on the Collection of Oral Histories of Video Games: Throughthe Practice of the Oral History Collection Project.” In Proceedings of the 9th Annual Meetingof the Digital Game Research Association, 92–95. DiGRA Japan.
Klepper, Steven, and Kenneth L Simons. 2005. “Industry Shakeouts and Technological
Change.” International Journal of Industrial Organization 23 (1–2): 23–43.
Koyama, Yusuke. 2016. History of Japanese Video Game Industry. Jinbun-Shoin.
Shimizu, Hiroshi, Fumihiko Ikuine, M. Eto, and Megumi Kimura. 2016. “From Fun toBusiness: The Industrialization of Computer Games in Japan and the U.S. and Innovation: The
Road to Game Industrial History.” In . Ritsumeikan University.
Shintaku, Junjiro, Tatsuo Tanaka, and Noriyuki Yanagawa. 2003. Economic Analysis of theGame Industry: Structure and Strategy of the Development of the Contents Industry. Toyo
Keizai Inc.
Storz, Cornelia. 2008. “Dynamics in Innovation Systems: Evidence from Japan’s Game
Software Industry.” Research Policy 37 (9): 1480–91.
Therrien, Carl, Isabelle Lefebvre, and Jean-Charles Ray. 2021. “Toward a Visualization ofVideo Game Cultural History: Grasping the French Touch.” Games and Culture 16 (1): 92–
115.
Uemura, Masayuki, Koichi Hosoi, and Akinori Nakamura. 2013. Famicom and Its Age. NTT
Publishing.
Yamaguchi, Shotaro, and Dong-Hun Kim. 2017. “Exploring ‘Memories’ Left Behind in
Records: Oral History for Innovation Research.” 17–02. IIR Working Paper WP. Tokyo.

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Book of Abstracts | Replaying Japan 2021
OthersHisakazu Hirabayashi, "Game Industry Employment Handbook" 1998, 1999, 2000 and 2001
editions.
Toho Gakuen, "Game no zenryoku 2000", Shinkijinsha.
TDB Industry Classification Table, https://www.tdb.co.jp/lineup/pdf/tic.pdf
Appendix
A. List of Research Materials
Game Research Center,
https://collection.rcgs.jp/

Ritsumeikan

University.

RCGS

Collection

Agency for Cultural Affairs. Media Arts Database (Media Arts Data).
https://mediaarts-db.bunka.go.jp/
Teikoku Databank. Corporate Data (TDB Data).
https://www7.econ.hit-u.ac.jp/tdb-caree/

Figure 1: Changes in the number of companies- 58 -(RCGS

Data).

Book of Abstracts | Replaying Japan 2021

Figure 2: Changes in the average number of employees and representative age

Figure 3: Changes in average capital (Unit: thousand yen)

Figure 4: Changes in average sales (Unit: million yen)

- 59 -

Book of Abstracts | Replaying Japan 2021
No.
1
2
3
4
5
6
7
8
9

Table 1: The company's classification by TDB (1)
1980
1990
2000
Publishing andAdvertising and Information
Advertising and Information
printing
Services
Services
Wholesale
Publishing and printing
Publishing and printing
Other
Wholesale
Wholesale
manufacturing
Other
Other manufacturing
General Machinery andEquipment Manufacturing
Manufacture of electrical
Image and video production
machinery and apparatus
General equipment andOther business services
apparatus manufacturing
Film and Video Production
Professional services
Other
Electrical machinery andequipment manufacturing
Other
Table 2: The company's classification by TDB (2)

No.
1
2
3
4
5

2010
Advertising and Information Services
Publishing and printing
Wholesale
Other Business Services
Film and Video Production

6
7
8

Other Manufacturing
Professional services
General machinery and equipment
manufacturing
Other

9

2019
Advertising and Information Services
Publishing and printing
Wholesale
Other Business Services
General machinery and equipment
manufacturing
Film and Video Production
Other Manufacturing
Professional services
Other

日本のゲーム産業はいかに始まり、どのように発展をとげてきたのか。ゲームハードの変遷やスマートフォンの登場は、ゲーム産業にどのような影響を与えたのか。この問いは、これまでにも繰り返し問われてきた研究課題である（新宅ほか _2003, Storz 2008, 上村ほか _2013, 小山 _2016など）。ただし、既存研究の多くは、資料調査やインタビューに依拠し、主に定性的方法論によって問いに答えてきた。これに対し、本研究はデータサイエンス的アプローチで同じ問いに取り組む。それによって、従来の研究成果を補完したい。
本研究のアプローチでは、異なる目的で作られた複数のデータベースを組み合わせる。一つは、企業の財務および信用状態を把握するために作られた帝国データバンクのデータベース（企業DB）であ- 60 -

Book of Abstracts | Replaying Japan 2021
る。もう一つは、ゲームの文化的価値を把握するために作られた、立命館大学ゲーム研究センターの所蔵品目録「RCGSコレクション」ならびに文化庁によるメディア芸術の総合目録「メディア芸術データベース」（書誌DB）である。書誌DBで記述される製品を出版・制作する団体の実体と、企業DBで記述される企業経営の様相を関連づけることで、文化を支える経済の実態、経済的意図から作られる文化の文脈を明らかにすることを研究プロジェクトとして目指している。なお、書誌DBの主たる
対象は家庭用ゲームソフトであるため、本研究ではゲーム産業のうち同市場の分析が中心となる。 _作成したデータセットを用い分析を行ったところ、1980年代以降の発展、範囲と規模に関して、既存研究の知見を確認したうえで、新たな事実を発見できた。参入企業数に関しては2000年代までの継続的な増加と2010年以降の停滞（図1）を確認し、平均従業員数に関しては2000年代前半までの漸減を確認した（図2）。資本金は1980年代後半に急激に増加し（図3）、売上高は1990年代中盤以降に低減したことを確認した（図4）。今後は、企業DBの取引データを使って取引ネットワークの形成と発展を明らかにし、ゲームハードの世代交代やスマートフォンの登場などのイベントが産業の範囲もしくは規模に与えた影響を検討する予定である。Replaying Japanでの発表では、分析から得た事実発見とその考察、さらにはデータサイエンス的アプローチでのゲーム研究の可能性や課題を、参加者と討議したい。 _
参考資料 _
Storz, Cornelia. 2008. “Dynamics in Innovation Systems: Evidence from Japan’s Game Software Industry.”
Research Policy 37 (9): 1480–91.
上村雅之, 細井浩一, and 中村彰憲. 2013. ファミコンとその時代 _: テレビゲームの誕生. NTT出版.
小山友介. 2016. 日本デジタルゲーム産業史. 人文書院.

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Book of Abstracts | Replaying Japan 2021
新宅純二郎, 田中辰雄, and 柳川範之. 2003. ゲーム産業の経済分析 _: コンテンツ産業発展の構造と戦略.
東洋経済新報社.
帝国データバンク. 企業概要データベース _COSMOS2. https://www.tdb.co.jp/lineup/cosmos2/index.html.
文化庁. メディア芸術データベース. https://mediaarts-db.bunka.go.jp/.
立命館大学. RCGSコレクション. https://collection.rcgs.jp/.

- 62 -

Book of Abstracts | Replaying Japan 2021++++++++++“Extracting AI Technologies of Past Digital Games by Using MCS-AI Dynamic Cooperative
Model”MCS-AI 動的連携モデルによる過去のゲームにおける人工知能技術の抽出
Youichiro Miyake, Rikkyo University
Fujio Toriumi, University of Tokyoy.m.4160@gmail.com

There are not many technical documents remained of Artificial Intelligence in digital games.
The history of game AI is reconstructed from very limited number of technical documents
already published. To get more information about game AI history in game industry, a system
to extract AI technologies directly from past games is necessary, and the method of extracting
AI technologies from past digital games by using MCS-AI dynamic cooperative model issupposed.
MCS-AI dynamic cooperative model is the model of meta-AI, character AI, and spatial AI tocooperate each other in a digital game. Meta-AI is to control a game itself, character AI is abrain of non-player character, and spatial AI is to recognize a spatial feature of environment
in a digital game (Fig.1). Originally, this model is designed to construct a fundamental systemof game AI in a digital game, and to realize AI functions in games requested from game design.
But the model can be useful to extract AI technologies from past games.
By analyzing a past game by using the model, a past game can be decomposed into AI
technologies such as meta-AI, character AI, and spatial AI manually by a game developer.
Furthermore, vice versa, by adding an AI technology as meta-AI, character AI, or spatial AI tothe original AI technologies, a new integrated MCS-AI dynamic cooperative model can begenerated. In other words, a past game design can be decomposed into three kinds of AIs, andon the contrary, a new game design can be composed from the three kinds of AI with new AI
components (Fig.2). This is the supposed method. The two cases of applying the method areshown such as “PACMAN” (1980, BANDAI NAMCO Entertainment Inc.), and “Chrome Hounds”(2006, (C)SEGA / FromNetworks,Inc./ FromSoftware,Inc. ).
As a summary, the supposed method is to extract AI components by decomposing a past gameand add new AI components to compose a new game are described.
デジタルゲームの人工知能技術の歴史は 80 年代から存在するが、残されている技術文書は少ない。そのため、現在は限定されたゲームの人工知能の公開技術文書から歴史を再構築せざるを得ない状況にある。そこで、過去のゲームから人工知能技術を抽出するフレームワークが必要である。本発表では、MCS-AI 動的連携モデルを用いて、過去のゲームからそこに含まれる人工知能技
術を抽出する手法について提案する。
MCS-AI 動的連携モデル（Meta-Character-Spatial dynamic cooperative model）は、デジタル
ゲームにおける３つの自律型人工知能、メタ AI、キャラクターAI、スパーシャル AI が動的に連携するモデルであり、実際のゲームへ応用されている。メタ AI はゲーム全体を統御する人工知能であり、キャラクターAI はキャラクター頭脳であり、スパーシャル AI は空間認識を司る人工- 63 -

Book of Abstracts | Replaying Japan 2021
知能である（図１）。本モデルは、デジタルゲームにおける人工知能システムを構築するためのモデルであるが、もう一つの使用法がある。これは、本モデルを利用して、既に作られたデジタ
ルゲームから人工知能技術を抽出する、という方法である。
kato
MCS-AI 動的連携モデルは、デジタルゲーム開発における様々な要件を人工知能の機能として蓄積するモデルである。そこで、既存のゲームを MCS-AI 動的連携モデルとして作るとすると、そのゲームが含む AI 機能を、３つの AI の機能として抽出することが可能となる。また抽出するだけではなく、そこに新しく AI 技術を加えることで、それらを総合した新しいゲーム AI システムを生成することができる。つまり、既存のゲームデザインをいったん３つの AI 分野内へ AI 技術
として分解し、各 AI 分野へ AI 技術をさらに追加することによって、ゲームデザインを新しく再構成することが可能となる（図 2）。

Fig.1 MCS-AI Dynamic Cooperative Model- 64 -

Book of Abstracts | Replaying Japan 2021

Fig.2 Decomposing a game into three kinds of AIs, and composing a game from them

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Book of Abstracts | Replaying Japan 2021

Session 4“An Investigation of the Psychological Behavior of Top Japanese TCG Players Using Process
Recording of Pokémon Card Games”
Yuuki Shiina, Nagoya Zokei University
Jean-Marc Pelletiers.yuuki0907@gmail.com
Japan's esports trail those of other countries, with Japanese players underrepresented intournaments, while American and Korean players frequently take the top spots. In Japan,
there is little policy support for esports, and games are often perceived as mere entertainment,in this regard, Japan is still a developing country compared to others (Yin, 2019). However, inthe trading card game (TCG) field, there are many strong players in Japan. Among the various
TCG, Pokémon card games, which are currently sold in 74 countries, are particularly popular,
dominating sales on the world’s largest online marketplace (eBay). World championships areheld every year, and Japanese players have occupied top spots in the rankings over the years(Armstrong, 2020). TCG require a high level of strategic thinking, and it has been shown fromprevious studies that it promotes the growth and development of the brain, and they have also
been used for education (Konvalinka & Roepstorff, 2012; Turkay et al., 2012).
TCG play is complex and players must explore a wide variety of patterns to win. However, thescope and depth of that thought process is still unclear. For this reason, we lack a satisfactory
framework for the development of artificial intelligence systems, and effective training
methods (Fujita & Ishii, 2007; Murakawa et al., 2013).
In this research, we seek to contribute to the advancement of esports in Japan in the future by
conducting interviews with competitive Japanese TCG players to clarify their psychologicalbehavior and mental strategies using process recording methodology (Karpetis, 2019).
(Purpose)
Objective 1
Objective 2
Objective 3(Method)
Step 1
Step 2
Step 3

Identification of behavioral patterns probabilistic strategies adopted by
players.
Identification of general requirements for TCG training system design.
Identification of support methods and systems required by Japanese players.

Randomly select top competitive Japanese players and casual players andconduct a semi-structured interview. Code and analyze data with groundedtheory.
From the analysis results, clarify what percentage the code contributes to thewinning conditions and how much it changes in terms of probability theory.
Conduct a randomized controlled trial to see if there are any significant
differences in psychological behavior and deck construction between
competitive and general players.
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Book of Abstracts | Replaying Japan 2021
(Expected results)
The primary author of this research is a competitive Pokémon card game player, which willaid in the recruitment of subjects and data collection. By clarifying the behavioral psychology
of top players, we hope to lay the foundations of better training methods.
References
Armstrong, K. S. “Interactivity, Ethical Behaviors, and Transmediation in Esports: An
Analysis of Pokémon Through Uses and Gratifications Theory.” Master’s thesis, Nova
Southeastern University, 2020.
Fujita, H., & Ishii, S. “Model-based reinforcement learning for partially observable gameswith sampling-based state estimation.” Neural Computation 19, no. 11 (2007):3051–3087.
https://doi.org/10.1162/neco.2007.19.11.3051
Karpetis, G. “In-depth learning in field education: Evaluating the effectiveness of process
recording.” Journal of Social Work Practice 33, No. 1 (2019): 95–107.
https://doi.org/10.1080/02650533.2017.1400956
Konvalinka, I., & Roepstorff, A. “The two-brain approach: How can mutually interacting
brains teach us something about social interaction?” Frontiers in Human Neuroscience 6(2012): 215. https://doi.org/10.3389/fnhum.2012.00215
Murakawa, H., Shirouzu, H., & Suzuki, K. “Effects of Collaborative Reflection of Gaming
Strategies on Intrinsic Motivation: A Case of ‘Math-Speed.’” Japan Journal of Educational
Technology 37 Issue Supl. (2013): 109–112. https://doi.org/10.15077/jjet.KJ00009957527
Turkay, S., Adinolf, S., & Tirthali, D. “Collectible Card Games as Learning Tools.” Procedia Social and Behavioral Sciences 46 (2012):3701–3705.
https://doi.org/10.1016/j.sbspro.2012.06.130
Yin, Z. “An analysis on Japan esports industry: Key factors that influence the diffusion andadoption of Japan eports” Master’s thesis, Keio University, 2019.

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Book of Abstracts | Replaying Japan 2021++++++++++“Under the Radar – Visualizing the Spatial Complexity of “Japanese” Console Videogames”
Martin Roth, Ritsumeikan University
roth1003@fc.ritsumei.ac.jp
Console videogames are not just “there.” They are produced by certain actors in particularplaces, distributed to various regions over time, and received by players and commentators
in particular contexts. These spatial relations are, more often than not, multilayered andcomplex, unfolding over time as particular games “travel” through various parts of the world.
Using Japan as a starting point, this presentation proposes several ways in which we may
visualize this complexity, thus making it transparent. Drawing on a wide range of meta-datafrom the Media Arts Database to Mobygames and Wikidata, I provide a historical cartographyof videogames available in Japan – and elsewhere. In contrast to a widely echoed
understanding of videogames as a “global culture,” my analysis underlines the limited
geographical “reach” videogames published in Japan have had for the longest time. In thepaper, I show how this complex spatialization unfolds both on a general level, on which I takegames published in Japan into account, and in the context of particular cases, which focus on
FromSoftware production, distribution, and reception. The data and their visualizations direct
attention to the diverse geographical scales on which games spatialize over long periods oftime. In doing so, my project contrasts the discursive labeling of “local” and “global” gameswith a more granular perspective. The presentation concludes with a discussion of thepotentials and limitations of a meta-data based approach to videogame cultures.

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Book of Abstracts | Replaying Japan 2021++++++++++“The Rise and Fall of Popular Amusement: Operation Invader Shoot Down”
Keiji Amano, Seijoh University
Geoffrey Rockwell, University of Albertaamano-k@seijoh-u.ac.jp
grockwel@ualberta.ca
The purpose of this study is to sort out the changes in the industrial map of Japanese leisurein terms of competition among industries. Specifically, using mainly the newspapers of thetime as a guide, we will look at the challenges that the pachinko industry has faced from otherindustries and the reactions to these challenges to find lessons about the rise and fall of anamusement, pachinko.
1: The post-war gambling boom
The main players in an industry can change over time. It was in the 1950s that pachinko
established itself as a main player in the leisure industry, but even before that, gambling was
popular, with street gambling, mahjong and lotteries all the rage, and the introduction of
bicycle racing (public gambling) brought a boom, as did the sex trade. In the 40s, when life
was difficult, leisure activities that satisfied instinctive human needs, such as sex andgambling, were very popular.
2: The advent of television
In 1953, pachinko reached the peak of its first boom. This was due in part to the growing
popularity of gambling with the introduction of new public gambling. Whereas radio and thecinema were leisure activities open to all ages, pachinko, like other forms of gambling, was aleisure activity for adults, and public gambling was not a rival to pachinko because of its
limited location.
From the mid-1960s onwards, the enhancement of in-home entertainment by home
appliances stimulated leisure activities, but also created a potential crisis situation for
amusement that took place outside the home. Throughout the 1960s and 1970s, however,pachinko was undergoing innovations such as the introduction of a range of mechatronics, theshift in management from family-based to mega-capital, and the interior and exterior designof pachinko parlours to create unusual spaces. There was little awareness that pachinko
would lose popularity to television.
3: The invader boom
According to Gorge (2018), “At the height of the ‘Space Invaders’ boom from 1979, the numberof pachinko parlours fell by 35%.” In the midst of this, the pachinko parlour trade associations
responded not only with their own internal efforts, but also by calling on the government to
reduce taxes on pachinko machines, tax invader games and impose legislation.

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Book of Abstracts | Replaying Japan 2021
To get a glimpse of the situation at the time, we have extracted articles on the invader boom
from the 1979 year-long edition of the Nagoya Times, an evening tabloid published in Nagoya.
On 14 May, under the headline “Operation Invader Shoot Down”, the article described the newmachines being developed by pachinko manufacturers to compete with video games, alongwith an insider’s view of the industry. An article on 23 July reported the first bankruptcy of acompany involved in invader games, followed on 30 November by an article entitled“Pachinko fights off invaders”. The article concluded by saying that consumers were looking
for games with prizes rather than games with points.
The mainstay of that fightback was Sankyo’s Fever, which brought pachinko back to life with
the novelty of a slot machine embedded in the board that paid out balls when the numbers
matched up, combined with the amount of the prize payout. Although it was the result ofchanges in the environment surrounding competitors, it was an event that brought diversity
to pachinko.
4: Diversification of leisure
The pachinko industry has been in decline throughout the 2000s, but has been able to survive
through a variety of measures, including the elimination of its negative image, establishing thegroups with video game companies, the creation of media-mix and media tie-ins.
With the diversification of entertainment, the diversification of consumer interests and theubiquity of amusement and entertainment through the spread of smartphones, pachinko as
an on-site business may have reached its limits.
What is lacking is a customer orientation. In the video game business, user demographics andplay data are analysed from a variety of perspectives in order to attract and retain customers,
and approaches to heavy users, light users and dormant users are all targeted via the internet.
In pachinko, however, there has been little progress in optimising services on an individual
basis. Of course, the pachinko industry also uses big data, which can help operators analyse
their members and rivals, but without optimisation for players, such as recommending
machines based on play data, it will be difficult to survive.
References
Amano, Keiji. & Rockwell, Geoffrey. “The End of Pachinko.” Replaying Japan Conference
Abstract 2019 (2019): 106-107.
https://drive.google.com/file/d/1rWrE_8PVdQci1XcMgQzPozJC_9WsC8fZ/view
Gorges, Florent. Space Invaders wo Tsukutta Otoko Nishikado Tomohiro ni Kiku. Tokyo:
Tokuma Shoten, 2018.
Japan Productivity Center. White Paper on Leisure 2013: Yameru Riyu Hajimeru Riyu - Yoka
Kasseika he no Michisuji. Tokyo: Japan Productivity Center, 2013.
Kawasaki, Yasuo. 2015. “The role of a Japanese cafe? where video game machine wasintroduced: -A new form of urban entertainment in the form of Arcade video games-.” Journalof Digital Games Research Vol.7, no.2 (2015): 1-12, https://doi.org/10.9762/digraj.7.2_1- 70 -

Book of Abstracts | Replaying Japan 2021
Komago, Yasuhira. “Video Games as Media Culture and Video Game Literacy Education:
Educational Utilization of NHK Program Archives.” Replaying Japan Vol.2 (2020): 179-186,
https://doi.org/10.34382/00013374
Koyama, Yusuke. History of Japanese Video Game Industry. Tokyo: Jinbun-Shoin, 2020.
Nichiyukyo. Pachinko Industry Data Book 2019. Tokyo: Nichiyukyo, 2019.
Pachinko Hissho Guide. All about Pachinko History. Tokyo: Guideworks, 2017.
n.a. “Invader Game: Shooting down the king of amusement.” Nagoya Times, April 12, 1979.
n.a. “Operation Invader Shoot Down.” Nagoya Times, May 14. 1979.
n.a “'Invader Bankruptcy' begins.” Nagoya Times, July 23. 1979.
n.a. “UFO (pachinko) shot down the Invader (game).” Nagoya Times, November 30. 1979.

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Book of Abstracts | Replaying Japan 2021++++++++++“Interim Report on the Development of Shochiku Kyoto Studio VR Personal Tour System
Using Unreal Engine 4”
Seiki Okude, Ritsumeikan University
Lingxuan Shi, Ritsumeikan University
Ryogo Nagao, Ritsumeikan University
Koki Shibaike, Ritsumeikan University
Yuuta Taniguchi, Ritsumeikan University
Ryo Watanabe, Ritsumeikan University
Aknori (Aki) Nakamura, Ritsumeikan University
sokude@fc.ritsumei.ac.jp
INTRODUCTION
Shochiku Kyoto Studio VR Personal Tour System was initiated as a part of the collaboration
between the College of Image Arts of Ritsumeikan University and Shochiku Kyoto Studio tostrengthen our collaborative pedagogical and research endeavors. This project aims to takeprops available within Sochiku Kyoto Studio, create a digital asset, use photogrammetry
software, and display the objects within the Virtual Museum field. The project will be
described in the following categories.
DEVELOPMENT STRATEGY
1) Digital Asset Creation
Photogrammetry is used to create the 3D model as an FBX file for a broader application.
(Figure 1and 2)
2) Exhibition Arena Creation
Unreal Engine 4 (Henceforth UE4) was selected to develop the exhibition arena following
examples from previous virtual museum exhibition development (Lepouras and Vassilakis
2005; Dunwell and et al. 2013; Kersten and Deggim 2017). When the field design is considered,various ideas from a more accurate depiction of Shochiku Kyoto Studio's exterior to thescenery of Japan's epic drama were proposed by team members. Considering the possibilityof replacing the objects regularly, however, more generic appearance was selected. Whenplacing each object, rather than displaying each object with actual scale, they were placed withdynamic experience in mind/
Moreover, statue-like objects are placed in the center, while vases, pots, and more appropriate
objects to hang on the wall are displayed on the side. Each object was modified from theoriginal size in order for the audience to have better viewing experience rather than accuracyof recreating the actual size of the objects Players are to 'walk' through the corridor and thosewhich are displayed on the side can be picked up and examine closely while objects in the
middle were almost life side in virtual projection (Figure 3 and 4). As for interface, we avoided
complex VR operations as much as possible in order to reach a wider range of users.
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Book of Abstracts | Replaying Japan 2021
"For the user interface of the project, we avoided complex VR operations as much as possible,
since we intended to have wider audience base. Everything from moving around the museum
to interacting with objects was limited to player hand gestures and controller triggers. In
addition, we developed a system to observe objects while rotating them, using gestures ofboth hands in order to observe them more closely.
4) Personal Tour System
This is the system that is considered to be unique even compared with previous researchendeavors for the virtual museum. We decided to include the two-players system. (Figure 5
and 6). The idea was conceived from the necessity for exhibiting generic props of Shochiku.
Kyoto Studio. Unlike props catered explicitly to a particular film project, generic props
themselves are meaningless unless each object's narrative was specified. Thus, guidance fromthose who work at the studio or those closely associated with them is necessary to make them
meaningful.
So, the system was designed to be in the virtual museum simultaneously and was able tointeract with one another with anticipation that 'narrative' from insiders makes the displayed
objects more meaningful.
5) Game Mode
Taking advantage of UE4 include game engines, two-game using exhibited digital assets canbe accessed inside the exhibit for solo mode. he reappearance of the exhibited objects in thegame scene allows participants to cause a paradigm shift in examining these digital assets. It
may also propose new potential for a museum of this kind.
Tentative Conclusion and Implication
Since this is an interim report on an on-going project, the user testing is quite limited andcannot be included in this report. However, exhibiting an on-going project may lead the
project to more appropriate directions and even further reaching its potential from both
digital archival research and digital game studies perspective.
References
Dunwell, Ian, and et, al. “The Herbert Virtual Museum.” Journal of Electrical and Computer
Engineering,((2013)v
2013.
ArticleID
487970,8
pages,
2013.
https://doi.org/10.1155/2013/487970
Kerseten T. P, F. Tschirschwitz and S. Deggim. “Development of a virtual museum including a
4D presentation of building history in virtual reality” In D. Aguilera, A. Georgopoulos, T. Kersten,
F. Remondino, & E. Stathopoulou, (Eds.), The international archives of the photogrammetry,
remote sensing and spatial information sciences (Conference Paper, XLII-2/W3, 3D virtual
reconstruction and visualization of complex architectures, pp. 361–367).
Leopours, Goerge and Costas Vassilakis “Virtual museums for all: employing game technology
for edutainment” Virtual Reality (2005) 8: 96–106- 73 -

Book of Abstracts | Replaying Japan 2021
Appendix

Figure 1 A Prop from The Studio

Figure 2 A Prop from The Studio

Figure 3 Virtual Pathway of the Exhibition

Figure 4 Point and Walk System- 74 -

Book of Abstracts | Replaying Japan 2021

Figure 5 Hands represent the 1 Player and Translucent body represent a Partner (the 2 ) Playerstnd- 75 -

Book of Abstracts | Replaying Japan 2021++++++++++“Failed Multinational Operations of Japanese Mobile Game Company in 2010s’”Atsuo Nakayama, Keio University
atsuo.no@gmail.com
This paper is for analyzing how many Japanese mobile game companies found branches inevery sphere of the globe since 2010 to 2014, in their foundation peak with the aim to bring
their growing local mobile game market logic to other regions, most of which finally ended in
3-5 years. The reason of this rapid slash-and-burn results attribute to several reasons: false
interpretation of different market logic, lack of experience to create international business,
Japanese characteristics not opt to distanced remote management, so on and so forth. I cancall this “Pseudo-Globalization”.
Since this paper is intended to summarize what the actual players, includes this author
himself, have globalized their mobile game operation so that the primary source from which
this information is gathered is 1 st hand information this author himself collected in his
experience, not 2nd hand information of Book, articles and interviews.
References
Atsuo, Nakayama. Neon Genesis of Otaku Economy (Otaku Keizai-ken Souseiki), Nikkei BP,
2019.
Buckley and Casson. The Internalisation Theory of the Multinational Enterprise: A Review of theProgress of a Research Agenda after 30 years, 1981https://www.4gamer.net/games/999/G999905/20200311069/
NTT Data. 平成 28 年度コンテンツ産業強化対策支援事業（オンラインゲームの海外展開
強 化 等 に 向 け た 調 査 事 業 ） 報 告 書 ,2017,https://www.meti.go.jp/meti_lib/report/H28FY/000848.pdf>
Pankaj Ghemawat. Redefining Global Strategy, with a New Preface: Crossing Borders in a World
Where Differences Still Matter, Harvard Business Review Press, 2018

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Book of Abstracts | Replaying Japan 2021++++++++++“Moral Management in Japanese Game Companies”
Keiji Amano, Sejoh University
Tsugumi Okabe, University of Alberta
Geoffrey Rockwell, University of Albertaamano-k@seijoh-u.ac.jp
grockwel@ualberta.ca
Companies, like individuals, manage their ethical presence. Japanese game companies areaware of potential reputational costs to certain video game practices like developing violent
games, developing gambling games, and using disreputable companies that use child labourin their supply chains. In this paper, we will look at selected case studies to map out how
Japanese game companies (JGC) manage their ethical reputation. In particular we will look at
how JGC’s frame their corporate social responsibility initiatives in terms of the UN’s
Sustainable Development Goals (SDGs).2 We will focus on three themes:
Child and slave labour in the supply chain. Fabless companies that subcontract all their
manufacturing globally run the risk that somewhere in their supply chain there could be theuse of child or forced labour, both of which are mentioned in SDGs and both of which violate
human rights.3 Child labor and various forms forced labour are prominent public issues andboth are difficult to reconcile with videogames which are supposed to be fun. JGCs like
Nintendo have been embarrassed by reports like the recent report on companies that were
benefiting from Uyghur forced labour as recently as 2019 (Xu 2020). In our paper we will lookat Nintendo’s procurement statements and their 2020 Nintendo Modern Slavery
Transparency Statement where they outline steps they have taken.
Gender Equality in game companies. Ethical intervention regarding issues of genderequality in JGCs complies with two main “goal targets” set by the UN. To “ensure women’s fulland effective participation and equal opportunities for leadership at all levels of decision
making in political, economic and public life”4 and to “adopt and strengthen sound policies
and enforceable legislation for the promotion of gender equality and the empowerment of all
women and girls at all levels.” 5 This section on gender will explore how JGCs promote
inclusivity and diversity as part of their CSR initiatives to police the moral management of
their workers, even as these initiatives work to promote gender equality. A secondary aim of
this section is to examine the limitations of the UN’s focus on women and how this particular
SDG is being re-interpreted to include the LGBT at some JGCs.
Employee work/life balance. This section is a discussion about workers and working styles.
It is mainly related to the SDG 8: Decent Work and Economic Growth. JGCs like Nintendo and
BANDAI NAMCO devote many pages in their CSR reports to work/life balance, diversity andjob satisfaction. Japanese labour practices have long been described with disgraceful words
2 See https://www.un.org/sustainabledevelopment/.
3 See SDG 5.2, 8.7 and 16.2.
4 Target 5.5, see <https://indicators.report/targets/5-5/>
5 Target 5.c, see < https://indicators.report/targets/5-c/>- 77 -

Book of Abstracts | Replaying Japan 2021
such as 'packed train during rush hour', 'economic animal' and 'death by fatigue fromoverworking'. Confronting such negative images is essential to competing in the global market
in a sector that is supposed to promote fun. In this section we look at work and labour
productivity issues such as overwork and work-life balance, as well as how diversity isachieved in the workplace, including nationality, disability and gender.
When it comes to workers, Japanese companies often use the term “Jin Zai” (human capital)
rather than “Jin Zai” (human resources). Namco Bandai is one such company. In English, bothterms are translated as "human resources", but the former shows that the company sees its
employees not just as resources, but as treasures. In terms of work styles, the impact of COVID19 has led JGCs to explore more flexible work styles, such as remote work and staggered
working hours, but it is important to promote issues such as work-life balance and diversity
in the workplace from a long-term perspective. We examine selected CSR reports from theperspective of "Decent Work" as defined in the SDGs.
Entertainment companies like game companies describe their missions as promoting “fun”
and “smiles.” Their contribution to society, should they be asked, is primarily that they provide
leisure and relaxation. They are thus vulnerable to criticism when their business practices
undermine their pleasure-providing role. For example, when, in the name of fun, they
subcontract to companies that employ child labour. Further, investors are beginning toconsider social responsibility, the environment and governance more and more when making
investment decisions. The UN’s SRGs are becoming a metric with which to judge company
responsibility. As part of this paper we will discuss the impact of the UN’s SRGs on JGCs. We
will also adapt Bandaura's theory of moral disengagement in the individual (2002) to provide
us a framework for understanding corporate moral management techniques.
References
Adams, Renée. B., & Funk, Patricia. “Beyond the glass ceiling: Does gender matter?”Management Science, 58 (2), February 2012, 219–235.
Bandai
Namco
Group.,
Integrated
Report2020.
Aug.,https://www.bandainamco.co.jp/cgibin/releases/index.cgi/file/view/10030?entry_id=6970 Accessed June 23, 2021

2020.

Bandura, Albert. “Selective Moral Disengagement in the Exercise of Moral Agency.” Journal of
Moral Education 31(2), June 2002, 101-119.
England, Paula. “Gender inequality in labor markets: The role of motherhood andsegregation.” Social Politics: International Studies in Gender, State, and Society 12 (2), July
2005, 264–288.
Gilligan, Carol. In a different voice: Psychological theory and women’s development. Cambridge,
MA: Harvard University Press, 1982.

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Book of Abstracts | Replaying Japan 2021
Kennedy, Jessica. A., Kray, Laura. J., & Ku, Gillian. “A social-cognitive approach tounderstanding gender differences in negotiator ethics: The role of moral identity.”
Organizational Behavior and Human Decision Processes 138, January 2017, 28–44.
Kennedy, J. A., & Kray, Laura. J. “Who is willing to sacrifice ethical values for money and social
status? Gender differences in reactions to ethical compromises.” Social Psychological andPersonality Science 5, December 2013, 52–59.
Nintendo. "Nintendo Modern Slavery Transparency Statement", September 25, 2020.
https://www.nintendo.co.jp/csr/pdf/ModernSlaveryTransparencyStatement_en.pdf
Accessed June 23, 2021
Xu, Vicky. Xiuzhong. “Uyghurs for sale: ‘Re-education’, forced labour and surveillance beyond
Xinjiang.” Australian Strategic Policy Institute: International Cyber Policy
Centre, https://www.aspi.org.au/report/uyghurs-sale. Accessed June 23, 2021

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Book of Abstracts | Replaying Japan 2021++++++++++“Human Relationship Formation through Video Games: A Case Study of a Game Center”
Hiroyasu Kato, Kanto Gakuin University
fieldwork777@gmail.com
The way in which human relationships are formed through the media is not a particularly new
phenomenon, if we include letters and books. However, whenever new media appeared, therelationship between the media and the individual became a subject of debate.
Looking at youth theory in Japan, Hirano and Nakano's (1975) "Capsule Humanism" was thefirst to emphasize the relationship between youth and media (Iwasa 1993, Morihiro 1993).
This trend has continued to the present, and radio, television, music, cell phones, manga,anime, and video games have been taken up (Hirano and Nakano 1975, Narita 1986, Tomita
et al 1999, Azuma 2001, etc.).
If we use these discussions as a standard, we can say that the way young people form
relationships through media spans about 50 years, although the media used by eachgeneration and individual differs. As the number of generations that have played video games
expands, the way in which human relationships are formed through the medium of video
games can be seen in a wide range of generations, not limited to young people.
Video game arcades, which have been dealing with video games since the 1970s, can be helpful
in considering how such relationships are formed. According to statistics from the White
Paper on Leisure, the main users of game centers are young people in their teens and twenties.
Kato (2011) deciphered people's behavior in game centers from factors such as handles,scores, and space. He also revealed the formation process of human relationships among
young people using a notebook called "communication note" placed in an arcade. Otsuka(2015) also depicted people moving to other game centers in search of fighting game
opponents. However, there are unknowns about relationships outside of the youth.
Based on the above discussion points, this report will clarify what kind of human relationships
are formed among the customers of a game center. Fieldwork will be employed as a method.
Among the informants who cooperated with us, three people in their thirties and forties, who
are the central figures in each group, will be taken up to explore the networks amongindividuals using the snowball sampling method.
As a result, it was found that players play not only arcade video games but also home video
games, smartphone game apps, and board games, and that they not only hold tournaments
and social events at game centers but also plan and organize tournaments and social eventsusing home video game consoles to increase the number of new players and expand exchanges.
In this report, we will discuss how the players have been playing the game. In this report, we
will focus on the aspect of human relationship formation among the players.

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Book of Abstracts | Replaying Japan 2021
References
Azuma, Hiroki. Doubutuka suru Postmodan (Otaku: Japan's Database Animals). Japan: KoudanSha, 2001.
Iwasa, Jun'ichi. “Shakaigakuteki Seinenron no Shikaku (A Sociological Perspective on Youth)”.
Wakamonoron wo Yomu, edited by Satoshi Kotani, 6-28. Japan: Sekaishiso Sha, 1993.
Otuka, Gichi. TOKYOHEAD: Tokyohead Re:Mastered (Special Edition) and Tokyohead 1.2. Japan:
Undersell Ltd., 2015.
Kato, Hiroyasu. Game Center Bunkaron: Media Shakai ni okeru Komunication (Game Center
Culture: Communication in Media Society). Japan: Shinsen Sha, 2011
Tomita, Hidenori. Fujimoto, Kenichi. Okada, Tomoyuki. Matsuda, Misa. Takahiro, Norihiko.
Pokebel Keitai Shugi ! (Pagers and cell phones!). Japan: Just System, 1997
Narita, Yasuaki. Koukando Ningen wo Kaidoku suru (Decoding the Highly Sensitive Man.).
Japan: Koudan Sha, 1986
Hirano, Hideaki. Nakano, Osamu. Copy Taiken no Bunka(Culture of Copying Experience).
Japan: Jijituushin Sha, 1975
Morihiro, Hitoshi. “Jyoho Shinjinruiron no Kosatu” (Considerations for an informational
anthropology). Wakamonoron wo Yomu, edited by Satoshi Kotani, 6-28. Japan: Sekaishiso Sha,
1993.
Leisure Hakusho (Leisure White Paper). edited by Nihon Seisanseihonbu. Yoka Kaihatusenta.
Japan: Zaidanhojin Shakaikeizai Seisanseihonbu, 1997-2017.
メディアを介して人間関係を形成するあり方は、文字や本を含めると特別に目新しい現象ではない。しかし、新しいメディアが登場するたびに、メディアと個人の関係は議論の対象となっていった。日本における若者論に目を向けてみると、平野・中野（1975）の「カプセル人間論」を嚆⽮として若者とメディアとの関連が強調されるようになっていく（岩佐1993、守弘1993）。
そうした傾向は現在に⾄るまで続き、ラジオ、テレビ、⾳楽、ケータイ、マンガ、アニメ、ビデ
オゲームなどが取り上げられてきた（平野・中野1975、成田1986、富田1999、東2001など）。これらの議論を基準にするならば、それぞれの世代や個人で利用しているメディアは異なるものの、メディアを通して人間関係を形成する若者のあり方は、約50年に渡るともいえよう。ビデオ
ゲームで遊んだ経験のある世代も広がっていくなかで、ビデオゲームを媒介とした人間関係形成のあり方は、若者に限らず幅広い世代にみられると考えられる。70 年代からビデオゲームを扱ってきたゲームセンターは、そのような人間関係形成のあり方を考える上で参考になる。ゲーム
センターの主要な利用客は10 代から20 代の若者であるとされる。加藤（2011）は、ゲームセン
ターに置かれた「コミュニケーション・ノート」と呼ばれる雑記帳を利用した若者の人間関係の- 81 -

Book of Abstracts | Replaying Japan 2021
形成過程を明らかにした。また大塚（2015）は、格闘ゲームの対戦相⼿を求めてゲームセンターを横断する人間関係のあり方を描き出した。しかし、ノートを介さないつながり、若者以外の人間関係については不明な点がある。
以上の論点を踏まえ、本報告では、ゲームセンターの利用客を対象に、どのような人間関係を形成しているか明らかにする。その方法としてフィールドワークを採用する。とくに協⼒を得られたインフォーマントのうち、各グループの中心人物となっている30代から40代の3名を取り上げ、スノーボール・サンプリングの⼿法を用いて、個人間のネットワークを探っていく。
その結果、プレイヤーたちは、業務用ビデオゲームだけでなく、家庭用ビデオゲーム、スマホゲームアプリ、ボードゲームでも遊んでおり、ゲームセンターで大会や交流会を開くだけでなく、家庭用ゲーム機を用いた大会・交流会を企画運営しながら、新規のプレイヤーを増やし、交流を広げていることがわかった。本報告では、プレイヤーたちの人間関係形成の様相に焦点を当てていく。
参考文献
東浩紀（2001）『動物化するポストモダン』講談社
岩佐淳一（1993）「社会学的⻘年論の視⾓」小⾕敏編『若者論を読む』世界思想社
大塚ギチ（2015 ）「TOKYOHEAD RE:MASTERED (SPECIAL EDITION) andTOKYOHEAD 1.2」『TOKYOHEAD〜トウキョウヘッド』ディー・バイ・エル・クリエイション
加藤裕康（2011）『ゲームセンター文化論̶̶̶̶メディア社会におけるコミュニケーション』新泉社
富田英典、藤本憲一、岡田朋之、松田美佐、高広伯彦（1997）『ポケベル・ケータイ主義！』ジャストシステム
成田康昭（1986）『__________「高感度人間」を解読する』講談社
平野秀秋・中野収（1975）『コピー体験の文化』時事通信社
守弘仁志（1993）「情報新人類論の考察」小⾕敏編『若者論を読む』世界思想社- 82 -

Book of Abstracts | Replaying Japan 2021

Session 5“Playing with BB in Death Stranding”
Bryan Hikari Hartzheim, Waseda University
hartzheim@waseda.jp
In the spirit of this year’s theme of “AI in Japanese Games,” this talk looks at the affordances
involved with the digital companion BB in Kojima Productions Death Stranding. In the game’s
postapocalyptic America, players control Sam Porter Bridges, a deliveryman who transports
packages to preppers living in underground bunkers spread out across the country while
avoiding hostile specters called BTs (“beached things”). Accompanying Sam is BB, short for“bridge baby,” an unborn fetus floating in a portable pod. The BB is classified as “equipment”
initially, as it allows the player-character Sam to detect BTs when hooked up to Sam’s radar
device. As the game progresses, however, Sam and the player recognize the tool as a person
as their relationship is explored through the game’s narrative, mechanics, and gameplay, or
what Nave Barlev has termed the “ludo-rapport model” of analyzing video game companions(Barlev 2021). This talk asks if the type of relationship that develops between Sam, BB, andthe player subverts the violence-motivated father-child relationships at the heart ofcontemporary “dadified” games such as The Last of Us, Bioshock Infinite, and God of War (Stang
2017). These games feature child avatars who gradually develop strength and individuality,
but not at the expense of any change in player behavioral or emotional response (Murray2019). BB, on the other hand, is linked to how the player plays the game or is entirely removed
from the game in certain moments. Players must adjust their behaviors accordingly to accountfor the presence or absence of their unborn buddy. These behaviors stand in contrast to theviolent affordances of traditional masculine game heroes, and instead focus on playful andnurturing affordances.
References
Barlev, Nave. 2021. “Don’t Leave Me Alone Here: Introducing the ‘Ludo-Rapport Model forPlayer-Companion Interaction’ in Video Games.” Transcommunication, Vol. 8(1): 1-25.
Murray, Soraya. 2019. “The Last of Us: Masculinity.” In How to Play Video Games, eds. Matthew
Thomas Payne and Nina Huntemann. New York: NYU Press, 101-109.
Stang, Sarah. 2017. “Big Daddies and Broken Men: Father-Daughter Relationships in Video
Games.” Loading…The Journal of the Canadian Game Studies Association, Vol. 10(16): 162-174.

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Book of Abstracts | Replaying Japan 2021++++++++++“Record Breakers: Forensic Media Archaeology Versus the King of Kong”
James Manning, Royal Melbourne Institute of Technology
james.manning@rmit.edu.au
In the highly competitive scene of speedrunning in which, as the name suggests, players
compete to finish videogames as fast as possible, video recordings are key. “No vid; no did” isa commonly heard phrase. Having captured video footage allows for runs to be verified and ispar for the course. It is not surprising, then, that speedrunning as a practice and spectacle
grew in popularity around the same time livestreaming platforms and technologies entered
the mainstream (Li, 2014).
However, prior to speedrunning was the proto-esports world of arcade video game highscores. One of the most recognisable yet polarising figures to emerge from this scene is Billy
Mitchell. Part of his notoriety derives from his villainous characterisation in the documentary
The King of Kong: A Fistful of Quarters (Gordon, 2007) alongside his long-standing gaming
achievements including thrice world record holder on Nintendo’s Donkey Kong (Orland,2018).
However, on 12 April 2018, Twin Galaxies International Scoreboard decided to remove all of
Mitchell’s records and ban him from future participation after Jeremy “Xelnia” Young’s earlier
filed dispute was accepted (Xelnia, 2017). The evidence provided in the now 378-page-longmegathread on Twin Galaxies forum details how Mitchell’s three 1-million plus scores were
not performed “live” on original arcade machines as Mitchell had originally claimed(McCumbers, 2018).
Despite the what seems to be continual and ongoing dispute between the parties involved,
this short video presentation focuses on the technical detailing and scrutiny Mitchell’s video
recordings received. The video footage once used to ratify Mitchell’s achievements ultimately
became his undoing. Young’s forensic reading of the way the image is generated reveals tellingincongruities between Mitchell’s original claim and the video’s actual source.
This presentation concludes by calling for a similarly forensic media archaeological approachto “reading the screen” of new media objects drawing together Kirschenbaum’s (2012)
forensic materialism and Apperley and Parikka’s (2015) expansion of platform studies(Bogost and Montfort, 2009).
References
Apperley, Thomas, and Jussi Parikka. 2015. ‘Platform Studies Epistemic Threshold’, Games andCulture, 21(1). doi: 10.1177/1555412015616509.
Bogost, Ian, and Nick Montfort. 2009. Racing the Beam: The Atari Video Computer System.
Cambridge, MA: MIT Press.
Gordon, Seth, dir. 2007. The King of Kong: A Fistful of Quarters. Los Angeles, CA: Picturehouse.
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Book of Abstracts | Replaying Japan 2021
Kirschenbaum, Matthew. 2012. Mechanisms: New Media and the Forensic Imagination.
Cambridge, MA: MIT Press.
Li, Roland. 2014. “Making Money as a Zelda Speed Runner.” Accessed March 31, 2021.
https://www.polygon.com/features/2014/1/9/5280786/making-money-zelda-speedrunner
McCumbers, Alex. 2018. “Dispute Decision: Billy Mitchell's Donkey Kong & All Other Records
Removed.”Accessed
March
31,
2021.
https://www.twingalaxies.com/feed_details.php/1047/billy-mitchells-donkey-kong-andall-other-records-removed
Xelnia. 2017. “Dispute: Jeremy Young - Arcade - Donkey Kong - Points [Hammer Allowed] Player: Billy L Mitchell - Score: 1,062,800.” Accessed March 30, 2021.
https://www.twingalaxies.com/showthread.php/176004-Dispute-Jeremy-Young-ArcadeDonkey-Kong-Points-Hammer-Allowed-Player-Billy-L-Mitchell-Score-1-062-800- 85 -

Book of Abstracts | Replaying Japan 2021++++++++++“Ainu Digitality and Rethinking the Game Medium”
Andrew Campana, Cornell University
campana@cornell.edu
In this lightning talk I will be presenting a work-in-progress on the relationship between Ainu
Indigenity, digitality, and games. While discussions on Indigeneity and games are often
centered on questions of representation—how, for example, are Indigenous characters being
portrayed in a game’s storyline?—I wish to instead think about digital media created incollaboration with Ainu creators in parallel with the works of Indigenous game creators
across the world. These creators have not just used the game medium as it currently exists totell Indigenous-related narratives, but have used Indigenous forms of knowledge and cultural
production to rethink the game medium itself, from mechanics to aesthetics. This approach isclear in a variety of recent Ainu language-teaching games like Ainu Itak Aesukup and Ainu Itak
Kampi Aesinot, both 2016 games developed in collaboration with Chiba University’s Center for
Areal Studies in collaboration with a variety of Ainu communities. What might Indigenous
game-development movements tell us about the potential futures of Ainu-made games?
References
Chiba University Center for Areal Studies, Division of Japan’s Indigenous Peoples. Ainu Itak
Aesukup.
Browsergame.
2016.
https://www.gshpa.chiba-u.jp/cas/japan/ainuboardgame2016/
Chiba University Center for Areal Studies, Division of Japan’s Indigenous Peoples. Ainu Itak
Kampi Aesinot. Browser game. 2016. https://www.gshpa.chiba-u.jp/cas/japan/ainucardgame/- 86 -

Book of Abstracts | Replaying Japan 2021++++++++++“Beached Dolphin: How the Nintendo GameCUbe Failed”
Izska Barnette, Liberty University
ibarnette@liberty.edu
For years, Nintendo dominated the worldwide video game industry. At one time, it possessedover 80% of the market share in North America and built what scholar Dominic Arsenault
calls a “walled garden” of software and hardware that ensured its captive market of gamedevelopers and consumers could not leave. However, as suddenly as Nintendo’s dominanceover the marketplace emerged, it disappeared. Fellow Japanese giant Sony outmaneuvered
Nintendo, now the victim of a generational shift primarily amongst American youth, in a movethat exposed the disconnect between Nintendo and the rapidly changing North American
video game market. Nintendo hoped to take back marketshare with its 2001 console, theNintendo GameCube, but the result was a dismal failure that temporarily removed Nintendo
from direct competition with Sony and Microsoft, primarily over an audience of so-called“core gamers,” and augured a transformation of Nintendo’s culture behind the scenes.
This paper analyzes the problems behind the failure of the Nintendo GameCube, primarily inNorth America, from a historical perspective, interpreting contemporary North American, andsome European, online primary sources to piece together a narrative behind Nintendo’s
failure to connect with consumers in the early 2000s. In doing so, it finds that a “myriad ofissues, such as poor release timing, extra competition from Microsoft, confused marketing inNorth America, and a culture clash within Nintendo” ensured that the GameCube would not
only place behind Sony in the sixth generation of consoles but also behind newcomer
Microsoft, selling dismally worldwide. Ultimately, this paper concludes by noting that thenarrative surrounding the GameCube has been flattened within the English language online
discourse in the years following its discontinuation, with most fans interpreting one or two
commonly cited reasons for the console’s failure, but not considering the system’s failure as
the result of a more complex, interconnected web of issues.
References
Arsenault, Dominic. Super Power, Spoony Bards, and Silverware: The Super NintendoEntertainment System. Cambridge: MIT Press, 2017.
"Cumulative Worldwide Hardware Unit Sales (Sell-in)." Sony Interactive Entertainment. Last
modified 2021. https://www.sie.com/en/corporate/data.html.
Dyer, Mitch. "The Life and Death of the Original Xbox." IGN. Last modified November 23, 2011.
https://www.ign.com/articles/2011/11/23/the-life-and-death-of-the-original-xbox.
"IR Information : Sales Data - Dedicated Video Game Sales Units." Nintendo Co., Ltd. Last
modified 2021. https://www.nintendo.co.jp/ir/en/finance/hard_soft/index.html.

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Book of Abstracts | Replaying Japan 2021
Rogers, Emily. "The Struggles of Marketing GameCube." Not Enough Shaders. Last modified
August 15, 2013.
https://web.archive.org/web/20140220040448/http://www.notenoughshaders.com/201
3/08/15/the-struggles-of-marketing-the-gamecube/"Wham! Zap! You just made a million." The Economist. August 18, 1990.

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Book of Abstracts | Replaying Japan 2021++++++++++“Character Driven Puzzle Games on the on the Sega Saturn”
Peter Smithpeteralfredsmith@gmail.com
The Sega Saturn has a short history in the west marked with a small library of games, but inJapan there were over 1000 releases including a series of character driven puzzle games thathave the player control a traditional puzzle game, while interacting with AI characters. While
many puzzle games include characters, they are often added as decoration, something toentice the player to purchase the game, or as a way to introduce lore. Super Puzzle Fighter II
introduces street fighter characters and backgrounds, and Puzzle Bobble has a cute dinosaur
for the player to relate to. There are, however, other games that include AI characters thatinteract with the player in a material way during their puzzle games. These include but are
not limited to Zoku Gussen Oyoyo, Gusssen Oyoyo S, Tetris Plus, and even a 3D conversion ofLemmings. These games often have the player control a block falling game like Tetris, with an
AI character traversing the blocks. In Zoku Gussen Oyoyo the player must build a ramp to get
the character out of the level while water raises from the bottom, and enemies traverse thelevel. In Tetris Plus the character must reach the bottom before being crushed by slowly falling
spikes. The player builds a relationship with the characters and must understand their AI tosuccessfully guide the player to the bottom. This work will look at Japanese character driven
puzzle games specifically on the Sega Saturn, the AI that backs them up, the relationshipbetween the player and the characters, and look at where these games came from and where
they have gone after the Saturn.

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Book of Abstracts | Replaying Japan 2021++++++++++“Japanese Video Games as Tools for Language Acquisition”
Tar Georgiana Lavinia, Babeş-Bolyai University
v.lavinia4620@gmail.com
The current paper proposes a theoretical approach on the potential of Japanese video gamesin the process of language acquisition in the case of Japanese language learners. Nowadays, as
more and more daily tasks are digitalized, online learning becomes mandatory in many cases,
yet not all the tasks are successfully adapted for the platform. Furthermore, as a teacher is nolonger near to aid in the engagement and concentration process, games have the added benefit
of engaging the student and avoiding the constant procrastination that is hindering thesolitary learning process. Thus, video games may now take a front spot in aiding the students
in their language learning endeavor. Not only, it may represent a more interactive method for
self-learners but it also represents a rich source of reading materials, especially for Japaneselearners from countries in which the Japanese reading materials are scarce or not available.

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Book of Abstracts | Replaying Japan 2021++++++++++“From Jipang to Midgar: National Allegories in Japanese Role-Playing Games”
Nökkvi Jarl Bjarnason, University of Iceland
nokkvijarl@gmail.com
This paper aims to examine how Japanese culture and national identity can be said to manifest
themselves in Japanese role-playing games by analyzing the supposed allegorical implicationsof such games and the applicability of such interpretations. As an analytical framework, theconcept of allegory might be seen as especially pertinent to Japanese role-playing games, sinceeven though the genre covers a wide breadth of topics, most Japanese role-playing games
feature a fantasy or science fiction inspired setting, thereby not offering a direct
representation of Japan and Japanese society. Seeing as allegories employ symbolic
expressions of figures and actions to convey hidden meanings about a particular subject,
allegorical readings, therefore, represent an opportunity for further study into Japanese roleplaying games as a cultural vehicle by uncovering the literal meaning of figurative symbols.
The allegorical undertones of various Japanese role-playing games have already been
explored in some detail by scholars and fan theorists alike. In the case of Final Fantasy VII and
Final Fantasy X, for example, it has been argued that certain aspects of the game are analogous
with nuclear discourse in Japan, making them an allegory for Japan’s relationship with nuclear
energy and armaments (Hutchinson 2019, 136). However, even though such allegoricalreadings have been applied to Japanese role-playing games on a case-by-case basis, theapplications, and limitations of allegory itself have received less attention, leaving suchstatements at least partly unqualified.
By differentiating between different types of allegories, both from the standpoint of authorial
intent and interpretive reception, it becomes possible to better understand, not only how
domestic allegories are read in a global context but also to what extent the happenings ofJapanese role-playing games can be said to be specifically allegorical, as opposed to justgenerally applicable. This has implications for how Japanese role-playing games can be said
to refer to their nationality as well as to what extent such games can be said to legitimately
offer commentary from a Japan-centric viewpoint.
References
Hutchinson, Rachael. Japanese Culture Through Videogames. London and New York: Routledge,
2019.

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Book of Abstracts | Replaying Japan 2021++++++++++“A Study of Tourism Photography in In-Game Photography: A Case Study of Snapshot AI”
インゲームフォトグラフィーにおける観光写真に関する研究―自動生成写真を事例としてーYuka Fukuura, Hokkaido University
yukafukuura@gmail.com
In-game photography is the practice of taking photos in a video game, either as screenshots
or by using the default photo-mode within the game software. In-game photography is usedby players and in-game photographers alike. In-game photography is a medium for visualcommunication for players on SNS. A search on Instagram for #ingamephotohraphy returns
391,257 images (viewed on September 25, 2020). Furthermore, the number of game titles
with photo-mode are increasing.
In this study I will focus upon photographs generated by Snapshot AI in "FINAL FANTASY
XV.”6 Snapshot AI (in this game the Snapshot AI is called "Prompt" and appears in the game asa character) allows the user to configure various aspects of the photo, including shutter,posing, framing, color effect and selecting photos. 7 However, the player is not involved intaking the photos, or the perspective of photos - these are generated automatically by thesnapshot AI. The photos generated by snapshot AI include not only the usual tourism
photography - such as commemorative photos 8 or selfies 9 with other characters, but also
photos of failures. Those failure photos include scenarios such as backlit photos 10 where
nobody appears in the photo clearly, photos where the character is looking at the camera but
blinking,11 and those in which there are no main person or objects.
The question is why does the player feel that these photos are a part of the game experience,even though that player is no involved in taking the photos, and the photos don’t include theplayer themselves? Photography in which the photographer is not clearly visible but can beseen (for example, in the inclusion of hands and feet in selfies) can be observed elsewhere. In
this research, however, I focus on photos generated by in-game snapshot AI, and aim to clarify
what elements are present in them, mainly from the perspective of tourism photography.
There are two research questions. (1) Do photos generated by Snapshot AI have thecharacteristics of tourist photography? (2) If photographs generated by Snapshot AI can beconsidered as a form of 'tourism photography', do they enhance video game experience?
6 “FINAL FANTASY XV” is released at 2016 by Square Enix Co.,Ltd. This research based on “FINAL FANTASY XVRoyal Edition”, released on 2018 at Play Station4.
7 Prasert Prasertvithyakarn, eds., “Procedural Photography Generation from Actual Gameplay: Snapshot AI in
FINAL FANTASY XV,” (PowerPoint presentation, ACM SIGGRAPH 2017 Talks (SIGGRAPH '17). Los Angeles CA,
USA. July 30- August 03, 2017).
8 スクウェア・エニックス『FFXV』AI チーム，『FINAL FANTASY XV の人工知能—ゲーム AI から見える未来—』,（東京：ボーンデジタル，2019), 162.
9 スクウェア・エニックス『FFXV』AI チーム，『FINAL FANTASY XV の人工知能』，171.
10 スクウェア・エニックス『FFXV』AI チーム，『FINAL FANTASY XV の人工知能』，165.
11 Prasert Prasertvithyakarn, “Samples of generated photographs,”
https://dl.acm.org/doi/10.1145/3084363.3085078#:~:text=a15-prasertvithyakarn.zip%20(1.4%20MB).

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Book of Abstracts | Replaying Japan 2021
First, I will summarize the relationship between photography generated by snapshot AI andin-game photography. After that, I will compare photos generated by snapshot AI and tourism
photos, and I will consider the common characteristics of these two types of photography. I
will refer to some previous studies on in-game photography and tourism photography, but I
will posit new insights for enriching the video game experience in terms of tourism and visualcommunication, linking it back to the notion of what is and is not instagenic.
インゲームフォトグラフィーとは、ゲーム画面をスクリーンショットとして撮影することやゲー
ムソフト内の機能として搭載されている「フォトモード」を使って、ユーザーやインゲームフォ
トグラファーが写真撮影することである。インゲームフォトグラフィーは、SNS でのビジュア
ル・コミュニケーションに用いられており、インスタグ ラムにおけるハッシュタグ（#ingamephotography）検索の結果、391,257 件（2020 年 9 月 25 日閲覧）の投稿が確認できる。
フォトモードを搭載したゲーム作品も増加傾向にあるが、『ファイナルファンタジー _XV』では、
写真 AI によって生成された写真をプレイヤーに提示するという機能が搭載されている。なぜプレイヤー自身が撮影していない、自分が写っていない写真を自分のゲーム体験と感じるのだろうか。そこで本研究では、この写真 AI が、ゲーム体験を具現化する観光写真の役割を果たしており、写真 AI により生成された写真が観光写真の特徴を持っているのではないかということを研究課題として設定する。Jonas Larsen (2004)や Jørgen Ole Bæenholdt et al.（2017）による観光写真の内容分析を参照しながら、写真 AI による写真との比較を行った結果、観光写真の特徴を持つものがあることを示した。

ReferencesBærenholdt, Jørgen., Michael Haldrup., Jonas Larsen. and John Urry. Performing Tourist Places:
New Directions in Tourism Analysis. New York: Taylor & Francis.2017. Kindle.
Frosh, Paul. “The Gestural Image: The Selfie, Photography Theory, and Kinesthetic Sociability.”
International Journal of Communication 9(2015):1607-28.
Giddings, Seth. “Drawing without light: Simulated photography in video games.” In The
Photographic Image in Digital Culture, 2th ed., edited by Martin Lister, 41-55. London:
Routledge, 2013.
小林重信編著.『デジタルゲーム研究入門⎻⎻レポート作成から論文執筆まで⎻⎻』.京都：ミネルヴ
ァ書房.2020．
前川修.「セルフィ論 ⎻⎻顔、腕、情動のエコノミー⎻⎻」.『美学芸術学論集』（神戸大学芸術学研
究室）16（2020:5-43.

Möring, Sebastian and Marco de Mutiis, “Camera Ludica: Reflections on Photography in Video
Games,” In Intermedia Games: Games Inter Media Video Games and Intermediality, edited byMichael Fuchs and Jeff Thoss, 69-94. New York: Bloomsbury Academic, 2019.

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Book of Abstracts | Replaying Japan 2021
Prasertvithyakarn, Prasert. “Prompto's Facebook: How a Buddy-AI Auto-Snapshots Your
Adventure in FFXV.” March 17,2017. https://youtu.be/ictRlPZQCZI.
———. “Samples of generated photographs: their triggers and themes.” July, 2017.
https://dl.acm.org/doi/10.1145/3084363.3085078#:~:text=a15prasertvithyakarn.zip%20(1.4%20MB).
Prasertvithyakarn, Prasert, Tatsuhiro Joudan, Hidekazu Kato, Seiji Nanase, Masayoshi
Miyamoto and Isamu Hasegawa. “Procedural Photography Generation from Actual Gameplay:
Snapshot AI in FINAL FANTASY XV,” At ACM SIGGRAPH 2017 Talks (SIGGRAPH '17) of
Associationfor
Computing
Machinery,
New
York,
NY,
2017.https://doi.org/10.1145/3084363.3085078.
スクウェア・エニックス『FFXV』AI チーム.『FINAL FANTASY XV の人工知能—ゲーム AI から見える未来—』.東京:ボーンデジタル, 2019．
⾕口暁彦.「ヴァーチャルなカメラと、それが写すもの」 .『エクリヲ』（エクリヲ編集）11（2019): 239-57.

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Book of Abstracts | Replaying Japan 2021++++++++++“China's Governmental Restriction and Game Players' Countermeasures to It: The Virtual
Place Created in Battlefield 4”
欧米戦争ゲームの中の中国表象——「Battlefield 4」に対する政策とプレイヤーの取り組み

Shiyu Yang, Ritsumeikan University
gr0330sk@ed.ritsumei.ac.jp
This paper discusses China's governmental restriction of the 2013 war video game Battlefield
4 published by Electronic Arts, and Chinese game players’ responses to the restriction.
Chinese government temporarily prohibited not the sale of the game itself, but all activities
pertaining to the game, including sharing information and building players' communities dueto the game's 'smear' depiction of China's national image. To purchase and play it outside therestriction, Chinese game players coped with non-technological ways: playing and discuss
about the game under aliases and building secret communities just as hideouts. Eventually,
the case of Battlefield 4 developed an offense-defense relationship between the governmental
restriction of the Chinese mainland and players' countermeasures in the players' community.
This article analyzes the case by applying the theory of “Spoil-Sport”, Huizinga’s playing
theory, as well as sociological ideas such as “Scenes” and “Community of Practice”. The
analysis shows how players' communities are repeatedly destroyed and re-built by
countercharges by government and players, and how players struggled to protect this newlyborn communities by giving it flexibility to avoid censorship. Paradoxically, the government
regulation of video games and the players’ activities resulted in providing cooperative supportof Chinese game players who develop this kind of new online communities. In conclusion,
although the referenced theory and ideas cannot be entirely applied, the research suggests a
new form of relationship that game players create with non-players outside in their gamecommunity.
本研究は、中国国内におけるシューティングゲーム「Battlefield 4」（Electronic Arts、2013）を巡るプレイヤーと規制の取り組み、及びこの現象の意義を論じるものである。作中の中国表象の描き方が「良くない」を理由にして、中国では一時的にこのゲームに向けて規制や禁止令が出された。それに対して、ゲームプレイとコミュニティーでの交流をスムーズに進むために、中国人プレイヤーが隠語としてのニックネームを作ったり、秘密アジトのようなコミュニティーを構築したりなど、様々な対策を講じた。本研究が取り扱うケースはプレイヤーのゲームプレイの場に巡るプレイヤーと規制の攻防であるため、このケースを分析するために、ホイジンガの遊び理論「Spoil-Sport」以外に、「シーン」や「実践的な共同体」などの、幾つかの社会学の共同体論モデルを用いた。分析結果として、この攻防を通じて、プレイヤーの能動性と創造性によって高い柔軟性を有する新しいゲームプレ
イの場がプレイヤーたちに再構築されることが明らかになった。結論として、プレイヤーが講じる対策により、このコミュニティーが規制の干渉を防ぎながら、新たなプレイヤーを招き入れることができ、高い柔軟性を有するようになる。そしてこの柔軟性で、強制力をもった政策によって、この再構築されたゲームプレイの場が完全に破壊されることがほぼあり得ないことと、今回のケースが前述の遊び理論と共同体論のモデルとは完全に一致しているわけではないため、ゲームに対し、プレイヤーと外部の第三者の新たな受容の仕方と関係を提示していることを筆者は主張する。

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Book of Abstracts | Replaying Japan 2021
References
Beggan, James K., Pruitt, Allison-Scott. “Leading, following and sexism in social dance: changeof meaning as contained secondary adjustments”. Leisure Studies 11, No.5 (2014): 508-532.
https://doi.org/10.1080/02614367.2013.833281
Goffman, Ervin. Frame Analysis: An Essay of the Organization of Experience. England: Penguin
Books, 1976.
Huizinga, Johan. Homo Ludens: A Study of the Play-Element in Culture. Translated by Hideo
Takahashi. Tokyo: Chuokoron-Sha, 1968.
Jenkins, Henry. “The Cultural Logic of Media Convergence.” International Journal of Culture
Studies 7, No.1 (2004), 33-43. https://doi.org/10.1177/1367877904040603
Nieborg, David B. “Training Recruits and Conditioning Youth: The soft power of militarygames.” Joystick Soldiers: The Politics of play in Military Video Games, edited by Nina B.
Huntemann and Matthew Thomas Payne, 53-66. New York: Routledge, 2010.
Pfadenhauer, Michaela. “Ethnography of Scenes. Towards a Sociological Life-world Analysisof (Post-traditional) Community-building.”, Forum Qualitative Sozialforschung / Forum:
Qualitative Social Research 6, No. 3 (Sept. 2005). https://doi.org/10.17169/fqs-6.3.23
Ranshaw, Scott W. “Postmodern Swing Dance and Secondary Adjustment: Identity as Process.”
Symbolic Interaction, 29, No. 1 (2006): 83-94. https://doi.org/10.1525/si.2006.29.1.83
Salen, Katie., Zimmerman, Eric. Rules of Play: Game Design Fundamentals, Cambridge: The MIT
Press, 2004
Wallis, Cara. “New Media Practices in China: Youth Patterns, Processes, and Politics”,
International Journal of Communication 5 (2011): 406-436
Yamagata-Lynch, Lisa C. “Community of Practice: What Is It, and How Can We Use This
Metaphor for Teacher Professional Development?”. Accessed April 27, 2021.
https://eric.ed.gov/?id=ED470198
宫玉聪. “用正义和真实驱散“游戏妖魔”——关注我们身边的“兵者大事”系列报道之十七”，中国国防
报, December 5, 2013.
中国文化部. “文化部文化市场司关于查处电脑游戏命令与征服 3－将军的通知”, Accessed July 20,

2020. https://www.pkulaw.com/chl/2b5f8b3029657c10bdfb.html
Game Selling Database:
VGChartz Ltd., “Video Game Charts, Game Sales, Top Sellers, Game Data – VGChartz,” Accessed
July 15, 2020. www.vgchartz.com- 96 -

Book of Abstracts | Replaying Japan 2021
World
Bank
Group.
“GDP
Ranking.”
Accessedhttps://datacatalog.worldbank.org/dataset/gdp-ranking

October

9,2020.

Global Firepower. “2020 World Military Strength Rankings.” Accessed October 9, 2020.
https://www.globalfirepower.com/countries-listing.asp.
Games:『Battlefield 4』, DICE, Electronic Arts, 2013. (PS3/PS4/Xbox 360/Xbox One/PC)『Command and Conquer: Generals』, Westwood Studios, Electronic Arts, 2003. (PC)『Call of Duty: Black Ops. 2』, Treyarch, Activision, 2012. (PS3/Xbox 360/PC)- 97 -

Book of Abstracts | Replaying Japan 2021

Session 6“Links to the Past? Formulating and Recreating Built Environment from Medieval Japan”
Philippe Depairon, Université de Montréal
philippe.depairon@gmail.com
Numerous video games developed by Nintendo in the last decade offer scholars a great
opportunity to understand how Japan’s past is perceived, constituted, and performed. Whilesome authors (i.e., Allison 2006) have argued that high-profile series such as Pok mon takeplace in a nondescript environment, this paper reconsiders how recent video games instead
seek to offer the player immersive sites where they can feel Japan’s glorified and, although
real, imaginary past. Recent entries in the Pok mon (2009), Golden Sun (2010), Legend of
Zelda (2017), Animal Crossing (2012), and Yo-kai Watch (2013) series all showcase different
aspects of Japan’s architectural and material culture and traditions.
I particularly examine two ways in which Japan’s architectural past is evoked, reified and,eventually, exoticized. On the one hand, Golden Sun: Dark Dawn (2010) and Legend of Zelda:
Breath of the Wild (2017) are set in another world and a distant past, wherein the protagonist
travels and must, at some point, access locales which stand for medieval Japan. Here,architecture, descriptions, and dialogues help identify what their equivalent in the “real”
world would be. On the other hand, games such as Pokémon: HeartGold (2009), Yo-kai Watch
1 (2013) and, to some extent, Animal Crossing: New Leaf (2012) take place in our time, butthey do not explicitly mention any specific geographic area. Here then, items used by theplayer and texts provided by interaction with the environment, such as traditional furniture,
food, and so on, are meant to evoke the country’s recognizable heritage. All these games seemto reinforce a dialectic built on ancient/modern and (self)Orientalism/strategic essentialism
dichotomies. Indeed, they build on preconceptions of what constitutes Japan’s “past,” and they
do so because it endows these games a sense of exoticism, of desirability – and thus, salability.
However, because these games often feature vast, expansive worlds, they remind us that wemust think beyond these dichotomies to also see in them an effort to consider Japan’s heritage
as being both discrete (i.e., reified) and entangled in a global world. By extension, these video
games, which represent a medium of modernity par excellence, constitute key devices inrecycling and renewing traditions – to audiences in Japan as much as abroad.
References
Allison, Anne. Millennial Monsters: Japanese Toys and the Global Imagination, Berkeley and
London: University of California Press, 2006.

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Book of Abstracts | Replaying Japan 2021++++++++++“A Visual Analysis of the Cards in Fate/Grand Order Arcade”
Victoria McArthur, Carleton University
victoria.mcarthur@carleton.ca
Arcade-based Trading Card Games (TCG) are video games that have a tangible, collectablecard component, similar to those seen in card-based tabletop games. In this paper, we present
a visual analysis of the cards of Fate/Grand Order Arcade, situating our findings in the greatercontext of Japanese visual culture, gacha mechanics (Lax & Mackenzie, 2015), and the cultural
significance of TCGs in Japan.
Fate/Grand Order Arcade was released by Sega on July 26 th, 2018. The game is a turn-based
combat game where the player takes on the role of a “Master” and summons powerful“Servants” to battle enemies. Servants, who are obtained via a gacha mechanic in-game,represent different classes (e.g., saber, berserker, assassin, archer, etc.). The plot of the arcade
game differs somewhat from the mobile game (released in 2015 on Android), which includes
fewer narrative elements and focuses more on battles. While the mobile release of the gamewas considered very successful, grossing $982 million dollars in 2017, we have chosen tofocus on the arcade version of the game, where players collect and play physical cards
representing servants and their attacks.
To play the game, players begin by scanning a previously purchased IC Card to load their saved
data. Servants and Craft Essences are obtained and simultaneously released to players in theform of a physical card. When starting a battle, the player loads their card deck into the deck
reader and selects Servants to use and Craft Essences to equip the selected Servants. Servants
are based on historical (e.g., Wolfgang Amadeus Mozart), literary (e.g., the Phantom of the
Opera), and mythological (e.g., Medusa) figures from various cultures.

Figure 1. Four cards from the Arcade-based TCG Fate/Grand Order- 99 -

Book of Abstracts | Replaying Japan 2021
In this paper, we discuss the cultural significance of the game’s physical cards and present a
visual analysis of the card artwork of 91 available Servant cards (see Figure 1) utilizing online
databases and a set of cards that was collected in Japanese arcades in 2019. The cards wereanalyzed using visual analysis methodologies described by Rose (2016), mobilizing bothcontent analysis and compositional interpretation. According to Rose, "content analysis offers
a number of techniques for handling large numbers of images with some degree ofconsistency" (2016, p. 55). The method involves defining the sample of images, constructing
categories for coding, coding the images, and then analyzing the results. As noted by Rose, theresultant analysis produces “a quantitative account of their content” (2016, p. 65).
Where content analysis produces quantitative results, compositional interpretation allows formore nuanced, qualitative analysis of images. Here, we utilize compositional interpretation toisolate and focus on specific cards that either defy or reify visual tropes common in Japanese
video games and anime. Compositional interpretation involves looking at the composition of
the image: its content, colour, spatial organization, light, expressive content.
References
Boyd, D. J. (2019). Soulful Bodies and Superflat temporalities: A Nomadology of the Otaku
Database of World History at the Ends of History (Doctoral dissertation, University of Glasgow).
Lax, G. L., & Mackenzie, M. (2015). Against All Odds: Desire and Monetisation in Japanese
Mobile Games. in Proceedings of Digra.
Rose, Gillian. (2016) Visual Methodologies: An Introduction to Researching with Visual
Materials. Sage.
Salvador, R. B. (2021) Mary Anning: Fossil Collector, Paleontologist, and Heroic Spirit., Journalof Geek Studies 8(1): 19-32.

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Book of Abstracts | Replaying Japan 2021++++++++++“Kamurocho, Kazuma and I: the Experiential Cartography of a Digital Town in the Yakuza
Series”
Leandro A. Borges Lima, Universida de Federal do Rio Grande do Sulleandroablima@gmail.com
Videogame cities and places can be as memorable as the characters we control. From FF7’s
Midgar, Spiderman’s semi-fictional New York, to the futuristic version of Detroit in Detroit:
Become Human and the remnants of Bioshock’s Rapture, cities play a major role in the player
experience. In this paper I discuss the fictional town of Kamurocho, from the Yakuza/Ryu Ga
Gotoku series, exploring how the town embodies the transition of space into place discussed
by the geographer Yi-Fu Tuan (1977). Place, he argues, is space to which we give meaning,
imbue values, and live experiences. Kamurocho is as much a protagonist as is Kazuma Kiryu(and other playable characters in the franchise) not just due to its environmental and indexical
storytelling elements (Fernandez-Vara 2011; Domsch 2019), but also due to the connections
it forms with players through its lively inhabitants.
Incorporating Walter Benjamin’s figure of the flaneur, I approach Kamurocho as a living spaceplace with ethnographical, cartographical, and affective curiosity. Alongside the avatar of
Kazuma Kiryu we fight drunks, hosts, yakuzas and gangs; play bowling, darts, and arcades;
visit cabaret clubs; solve the problems of Kamurocho denizens and eat sushi at a place he once
owned. Kazuma and I stroll, observe, and experience Kamurocho. The paper provides atheoretical temporal and spatial guide of Kamurocho through an analysis based in four out of
its seven incarnations – Yakuza 0’s 1980’s Kamurocho and its bubble economy aesthetic; themid 2000’s Kamurocho shown in Yakuza Kiwami: 2; the verticalization of Kamurocho in
Yakuza 4, set in 2010; and the inauguration of Kamurocho Hills in Yakuza 5, set in 2012.
I argue that Kamurocho offers players a spatial-temporal experience in which players areinvited to construct with it an affective relationship that transforms Kamurocho into place(Wetherell 2012; Tuan 1977) through an inventive game design that allows the use of thetown’s elements in fights; and let us see it growing and changing over the span of almost three
decades. In fact, we are illusory agents in this change, as our actions have (planned)
architectural consequences from one game to another. Moreover, a second argument
developed is the matter of familiarity through permanence. In contrast to the high pace ofchanges usually seen in installments from game franchises, Yakuza invests in the repetition of
Kamurocho as center of the action. To reinforce this central role, the developers keep
memorable sites quasi-untouched, and businesses that the player can visit remain in the sameplace for decades. This familiarity is enhanced by an off-game experience, as Kamurocho isbased on the entertainment district of Kabukicho, in Shinjuku, Tokyo. Players that have been
to the district can spot some obvious similarities, such as the entry gate and the many idols
billboards in a certain parking lot. Moreover, the Japanese daily life iconography that players
may know from firsthand experience or through the consumption of other Japanese cultural
products, such as kombini and vending machines also create a feeling of familiarity through(affective and memorial) permanence.

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Book of Abstracts | Replaying Japan 2021
References
Domsch, Sebastian. “Space and Narrative in Computer Games”. In Aarseth, E. & Günzel, S.Ludotopia: Spaces, Places and Territories in Computer Games, edited by Espen Aarseth andStephan Günzel, 103-123. Bielefeld: transcript Verlag, 2019
Fernández-Vara, Clara. “Game spaces speak volumes: Indexical storytelling”. Paper presented
at the 2011 DiGRA International Conference: Think Design Play, Utrecht School of the Arts,
Utrecht, January, 2011. http://hdl.handle.net/1721.1/100274
Tuan, Yi-Fu. Space and place: the perspective of experience. Minneapolis: University of
Minnesota Press, 1977
Wetherell, Margareth. Affect and emotion. London: SAGE, 2012

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Book of Abstracts | Replaying Japan 2021++++++++++“Transculturality in Kingdom Hearts: Character Design and Generational Appeal”
Rachael Hutchinson, University of Delaware
rhutch@udel.edu
Taken by themselves, neither Disney nor Square Enix appears particularly successful attranscultural expression, although both are certainly marketing juggernauts in transmedia
franchise operations (Smoodin 1994, Consalvo 2013). Disney may be understood in terms ofAmerican postwar cultural imperialism, while Square Enix is deeply rooted in conventions ofJapanese storytelling. But together, somehow the two achieve a synergy in Kingdom Hearts(2002), coalescing in the figure of Sora. This paper performs a close reading of Sora’s visualcharacter design, a transcultural melding of Walt Disney’s own Mickey Mouse and the shōnenfigure of earlier Nomura Tetsuya creations (Drummond-Matthews 2010). While gameplay
dynamics point to a new action-adventure style for Square Enix, the shōnen characteristics ofSora’s appearance combine with his sense of loss and yearning to position the game squarelyin the JRPG genre (Zagal and Deterding 2018, Hutchinson 2019).
Transculturality is then extended to the non-player characters in Kingdom Hearts. While theDisney characters fit their settings in an uncomplicated way, providing escapism and nostalgia
for the player, Square Enix characters seem to be chosen for their complexity. I contrast theuse of recent Final Fantasy X characters Tidus and Wakka in Destiny Islands against the use of
darker, brooding characters from the older Final Fantasy VII, encountered later in the game.
Just as loss and yearning define Sora’s shōnen character, the sense of loss manifested by Cloud,Aerith and Tifa connect the player to the real-world context of the global late 1990s, speaking
to Japanese anxiety following the Hanshin earthquake and Aum Shinrikyo attacks of 1995 (Ivy
1995), as well as the despair of ‘Generation X’ following Kurt Cobain’s death in 1994 (Ali 1994,
Brabazon 2005). Meanwhile, the deep economic recession of Japan’s ‘lost decade’ (19912001) connected perfectly to the post-9/11 unease in America at the time of the game’s
release (Funabashi and Kushner, 2015). Overall, I argue that the game’s success stems fromits emphasis on loss and yearning, which fit not only the JRPG genre but also the sense ofanxiety pervading both Japan and America at the time.
References
Abu-Er-Rub, Laila, Christiane Brosius, Sebastian Maurer, Diamantis Panagiotopoulos andSusan Richter (eds.). Engaging Transculturality: Concepts, Key Terms, Case Studies. New Yorkand London: Routledge, 2019.
Ali, Lorraine. ‘Kurt Cobain Screamed Out Our Angst,’ New York Times. 17 April 1994.
https://www.nytimes.com/1994/04/17/archives/pop-view-kurt-cobain-screamed-outour-angst.html
Barton, Matt. Dungeons and Desktops: The History of Computer Role-Playing Games, Wellesley,
MA: A.K. Peters, 2008.

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Book of Abstracts | Replaying Japan 2021
Brabazon, Tara. From Revolution to revelation: Generation X, popular memory, and cultural
studies, Aldershot and Burlington, VT: Ashgate, 2005.
Consalvo, Mia. “Dubbing the Noise: Square Enix and Corporate Creation of Videogames,” in A
Companion to Media Authorship, ed. Jonathan Gray and Derek Johnson, 324-345. Malden MA:
Wiley Blackwell, 2013.
Drummond-Matthews, Angela. “What Boys Will Be: A Study of Shō nen Manga,” in Manga: An
Anthology of Global and Cultural Perspectives, ed. Toni Johnson-Woods, 34-61. London:
Bloomsbury, 2010.
Funabashi, Yōichi and Barak Kushner (eds.). Examining Japan’s Lost Decades, London:
Routledge, 2015.
Hutchinson, Rachael. Japanese Culture Through Videogames, New York and London:
Routledge, 2019.
Ivy, Marilyn. Discourses of the Vanishing: Modernity, Phantasm, Japan, Chicago and London:
University of Chicago Press, 1995.
Nakagawa, Daichi. Gendai gēmu zenshi: bunmei no yūgi shikan kara (Complete History ofModern Games: civilization from the historical view of play), Tokyo: Hayakawa Shobō, 2016.
Ritchie, Karen. Marketing to Generation X, New York: Lexington Books, 1995.
Schodt, Frederick L. The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime
Revolution, Berkeley, CA: Stone Bridge Press, 2007.
________ Dreamland Japan: Writings on Modern Manga, Berkeley, CA: stone Bridge Press, 1996.
Smoodin, Eric Loren (ed.). Disney Discourse: Producing the Magic Kingdom, London and New
York: Routledge, 1994.
Zagal, José,and Sebastian Deterding (eds.). Role-Playing Game Studies: Transmedia
Foundations, New York and London: Routledge, 2018.

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Book of Abstracts | Replaying Japan 2021++++++++++“Transnational Taikos: Donkey Konga and Taiko no Tatsujin as European Distributed(Hyper)Cultural Products”
Beatriz Pérez Zapata, Valencian International University/Tecnocampus, Pompeu Fabra
University
Victor Navarro-Remesal, Tecnocampus, Pompeu Fabra University
abperez.zapata@gmail.com
Taiko no Tatsujin is one of the most iconic game series in Japan. Released for arcades in 2001
by Namco and with more than 60 installments between arcades, consoles, and smartphones,
it did not arrive in Europe until 2018, with Drum'n'Fun! and Drum Session! (TnT18). Previously,
Taiko: Drum Master had been released in 2004 in North America. That same year, the Donkey
Konga series, a spin-off created between Nintendo and the TnT team, arrived in the West andexchanged bongos and Namco's own mascots for characters from the Donkey Kong series.
Although Konga was first released in Japan in 2003, its fictional universe, song selection, anddistribution strategy make it an international project.
This paper compares both games series analysing the games themselves through game studies
theories and through the idea of “paradoxical Japaneseness” (Dorman, 2016), to then study
TnT18 as an European release, first through its marketing paratexts (Tosca, 2003), exploring
as well how they convey meaning, and second from its reception by European reviewers,
especially whether the games’ “Japaneseness” was a relevant factor for them.
At first glance, the releases of Konga and TnT18 seem to illustrate two very different
distribution strategies: the “cultural concealment” of the markers of local identity and the“cultural performance” of said markers as selling points (Dorman, 2016). Despite being anancient instrument, taiko was recovered during the postwar period and soon became an iconof tradition that separates both participants and the public into nationals and foreigners aswell as local and non-local. Thus, its central role in TnT makes the franchise be defined by“cultural odour” (Iwabuchi, 2002). Donkey Konga, in turn, rejects cultural odour to createtransnational aesthetics. A closer look to both series adds nuances: the Taiko franchise has
always incorporated Western songs; Taiko: Drum Master was later released in Japan with little
or no changes; Konga can still be understood as a highly Japanese game in its genre andaesthetics; and the marketing for TnT18 highlighted Japanese cultural items that would befamiliar to its European target.
Accordingly, our findings challenge the divide between Western and Japanese markets. Thereis a stable audience for Japanese games in Western countries, organized around online
communities such as Taiko Time; at the same time, rhythm games are targeted to wider
audiences through general cultural markers and design traits (such as party-oriented
gameplay). Japan, the United States, and Europe form a distribution and circulation triangle
within a hybrid industry (Consalvo, 2016) defined by transnational spaces, a multiplicity ofversions of games (Newman, 2019; Hutchinson, 2019), and what Byung Chul Han has called“hyperculturality” (2018).

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Book of Abstracts | Replaying Japan 2021
TnT18 shows that the franchise was familiar enough in Europe as not to be seen as a novelty
or a gimmick, yet still needing explanation for some audiences - creating a circulation between
aficionados with insider knowledge and newcomers. In this regard, TnT and its players andcritics illustrate the hybrid and hypermodern nature of the cultural transactions between
Japanese and European gaming spaces.
References
Consalvo, Mia. Atari to Zelda: Japan's Videogames in Global Contexts. Cambridge: Mit Press,
2016.
Dorman, Andrew. Paradoxical Japaneseness: Cultural representation in 21st Century Japanese
Cinema. London: Palgrave Macmillan, 2016.
Han, Byung-Chul. Hiperculturalidad. Barcelona: Herder. 2018.
Hutchinson, Rachael. Japanese Culture through VIdeogames. Abingdon: Routledge, 2019.
Iwabuchi, Koichi. Recentering Globalization: Popular Culture and Japanese Transnationalism.
Durham: Duke University Press, 2002.
Newman, James. “Slower, Squashed, and Six Months Late: Japanese Videogames in the UK,
1991-2019” Replaying Japan 1 (2019): 5-28.
Tosca, Susana. “Life’s a Game: Play more in the third Place” Proceeding of Digital Games
Industries: Developments, Impact and Direction (2003).

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Book of Abstracts | Replaying Japan 2021++++++++++“Playing to Protect the Nation: Conservative Frames and Nationalist Nostalgia in Tōhō Project”
Sebastian Sabas, Heinrich Heine University Düsseldorf
sebastian.sabas@uni-duesseldorf.de
The field of Game Studies so far has paid much attention to politics and ideology in Japanese
video games. Critical analyses have covered a wide variety of topics, including perspectives ongender, religion, cultural self-representation and othering, racial discourses and many more.
Roth and Hutchinson, analyzing multiple Japanese video games from a variety of angles,
demonstrate how deeply embedded they are in broader political discourses. Their insightful
work is a testament to the contributions Japanese Studies is making in analyzing “games-astexts from regional perspectives”.
Many of these publications address highly popular and successful titles and/or long-runningseries, but one popular Japanese video game series has evaded critical scholarly attention:Tōhō Project. Originally published as dōjin games to be sold at fan conventions, Tōhō Project
quickly became a highly popular series, has since gathered a very active fan base and has evenseen some of its titles released on commercial games platforms like Valve’s Steam and the
PlayStation Store. While there is some scholarly work that mentions the series as an exampleof Japanese dōjin game development or analyzes it in terms of the fan culture surrounding it,
to this date, there is no literature investigating Tōhō Project in the sense of Liboriussen andMartin, focusing on “games-as-texts from regional perspectives”.
This paper contributes to the scholarly discussion about Tōhō Project by offering a criticalanalysis of the series as “games-as-texts”. Applying Bogost’s ideological frame analysis, it
demonstrates how the games’ mechanics enforce conservative political frames of restoring
order and protecting the status quo. In a critical reading of its narrative, this paper argues thatTōhō Project envisions a world filled with a Japanese nostalgia for a nationalist constructionof the past and for a supposedly lost Asian-ness. It shows that the games’ mostly female
characters are modeled after Japanese yōkai and command spells inspired by Shintoist,
Buddhist and other pan-Asian religious traditions. Finally, it demonstrates that thesecharacters act as agents for an anti-modernist nostalgia and thus embody a nationalist
narrative of woman-as-nation.
References
Bogost, Ian. “Videogames and Ideological Frames.” POPULAR COMMUNICATION 4, no. 3(2006): 165–83.
Dumas, Raechel. The Monstrous-Feminine in Contemporary Japanese Popular Culture. East
Asian
PopularCulture.
Cham:
SpringerInternational
Publishing,2018.
https://doi.org/10.1007/978-3-319-92465-6.
Evans, Erin. “The Struggle with Gnosis: Ancient Religion and Future Technology in the
Xenosaga Series.” In Playing with the Past: Digital Games and the Simulation of History. Edited- 107 -

Book of Abstracts | Replaying Japan 2021
by Matthew Kapell and Andrew B. R. Elliott, 343–56. New York, NY: Bloomsbury Academic,
2013.
Foster, Michael Dylan. Pandemonium and Parade: Japanese Monsters and the Culture of Yōkai.
Berkeley, Calif, London: University of California Press, 2009.
Glasspool, Lucy. “Making Masculinity: Articulations of Gender and Japaneseness in JapaneseRPGs and Machinima.” In Pulos; Lee, Transnational Contexts of Culture, Gender, Class, andColonialism in Play, 99–125.
Hemmann, Kathryn. “I Coveted That Wind: Ganondorf, Buddhism, and Hyrule’s Apocalyptic
Cycle.”
Games
and
Culture16,
no. 1(2021):
3–21.
https://doi.org/10.1177/1555412019865847.
Herfs, Lawrence. “Dreams of the Japanese Self in the Legend of Zelda: Breath of the Wild.”
Replaying Japan 2 (2020): 33–47.
Hichibe, Nobushige, and Ema Tanaka. “Cointent Production Fields and Doujin Game
Developers in Japan: Non-Economic Rewards as Drivers of Variety in Games.” In Pulos; Lee,
Transnational Contexts of Culture, Gender, Class, and Colonialism in Play, 43–80.
Hutchinson, Rachael. “Virtual Colonialism: Japan's Others in SoulCalibur.” In Pulos; Lee,
Transnational Contexts of Culture, Gender, Class, and Colonialism in Play, 155–78.
Hutchinson, Rachael. Japanese Culture Through Videogames. Routledge contemporary Japan
series 80. London: Routledge, Taylor & Francis Group, 2019.
Iwabuchi, Kōichi. “Time and the Neighbor: Japanese Media Consumption of Asia in the 1990s.”
In Rogue Flows: Trans-Asian Cultural Traffic. Edited by Kōichi Iwabuchi, Mandy Thomas andStephen Muecke, 151–74. Hong Kong: Hong Kong University Press, 2004.
Lam, Fan-Yi. “Comic Market: How the World's Biggest Amateur Comic Fair Shaped Japanese
Dōjinshi Culture.” Mechademia 5 (2010): 232–48.
Liboriussen, Bjarke, and Paul Martin. “Regional Game Studies.” Game Studies 16, no. 1 (2016).
Accessed April 28, 2021. http://gamestudies.org/1601/articles/liboriussen.
Martin, Paul. “Race, Colonial History and National Identity: Resident Evil 5 as a JapaneseGame.” Games and Culture 13, no. 6 (2018): 568–86.
Napier, Susan Jolliffe. The Fantastic in Modern Japanese Literature: The Subversion ofModernity. Nissan Institute / Routledge Japanese studies series. London: Routledge, 1996.
Peterson, V. Spike. “Sexing Political Identities/Nationalism as Heterosexism.” International
Feminist Journal of Politics 1, no. 1 (1999): 34–65.

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Book of Abstracts | Replaying Japan 2021
Picard, Martin. “The Foundation of Geemu: A Brief History of Early Japanese Video Games.”
Game
Studies13,
no. 2(2013).
Accessed
November 8,2020.
http://gamestudies.org/1302/articles/picard.
Pulos, Alexis, and S. Austin Lee, eds. Transnational Contexts of Culture, Gender, Class, andColonialism in Play: Video Games in East Asia. East Asian Popular Culture. s.l.: Springer-Verlag,
2016.
Robertson, Jennifer. “Furusato Japan: The Culture and Politics of Nostalgia.” Politics, Culture,and Society 1, no. 4 (1988): 494–518.
Robertson, Jennifer. “Empire of Nostalgia: Rethinking 'Internationalization' in Japan Today.”
Theory, Culture & Society 14, no. 4 (1997).
Roth, Martin. Thought-Provoking Play: Political Philosophies in Science Fictional Videogame
Spaces from Japan. Pittsburgh: ETC Press, 2017.
Sony Interactive Entertainment Inc. “Tōhō Shinpiroku ~ Urban Legend in Limbo. PlayStation
Store Japan.” Accessed April 28, 2021. https://store.playstation.com/ja-jp/product/JP2230CUSA06012_00-TH14500000000001.
Stang, Sarah M. “(Re-)Balancing the Triforce: Gender Representation and Androgynous
Masculinity in the Legend of Zelda Series.” Human Technology 15, no. 3 (2019): 367–89.
https://doi.org/10.17011/ht/urn.201911265025.
Valve. “Touhou Kanjuden ~ Legacy of Lunatic Kingdom. Steam Store Page.” Accessed April 28,
2021.
https://store.steampowered.com/app/937580/Touhou_Kanjuden__Legacy_of_Lunatic_Kingdom/.
Vogel, Michael. “Japanese Independent Game Development.” Master's Thesis, Georgia Instituteof Technology, 2017.
Yao, Noriaki. “Niji Sōsaku to Dōjinshi Sokubaikai Wo Meguru Katari. Tōhō Project Wo Jiku to
Shita Sorezore No Taiken.” Graduation thesis, Graduate School of Letters, Osaka University,
2018.

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Book of Abstracts | Replaying Japan 2021++++++++++“Graffiti Activism or Slacktivism: Computer-assisted Analysis of the “Blitzchung” Controversy
and the #Boycottblizzard Movement”
Jérémie Pelletier-Gagnon, Université du Québec à Montréal
Patrick Deslauriers, Université du Québec à MontréalLouis-David L. Renaud, Université du Québec à Montréal
Maude Bonenfant, Université du Québec à Montréal
jrmie@ualberta.ca
deslauriers.patrick@gmail.com
lalancette-renaud.louis-david@courrier.uqam.ca
bonenfant.maude@uqam.ca
Interviewed as part of an official Hearthstone Grandmaster streaming event on October 6,
2019, Hongkonger and eSports athlete Ng Wai Chung known as Blitzchung, voiced his supportof the protest movement against the Extradition Law Amendment Bill, shouting “Free Hong
Kong, Revolution of our Time” at the camera. Following the remarks, Blizzard Entertainment
disqualified Blitzchung from the tournament for promoting “divisible social and politicalviews”. As Blizzard’s parent company, Activision, is itself partly owned by the Chinese
multinational holding conglomerate Tencent, gamers suspected foreign influence at thesource of the decision. On the day of the incident, a call to boycott Blizzard’s products wasrelayed on social media to retaliate against the company, a rallying cry which eventuallyextended to the denunciation of the game industry’s monetization practices and Chinesehuman rights violations in the Xinjiang region, highlighting the tension between gaming
practices and the industry’s complex networks of capital and corporate ownership.
What would later come to be known as the “Blitzchung” controversy shares elements of thepolemical intersection of spectator sport and political engagement as recently illustrated byformer NFL player Colin Kaepernick’s symbolic kneeling during the American national
anthem. In the context of social media communication and gaming culture, it asks us to
examine the dynamics of the generation, spread, and transformation of civic engagement
online. In this presentation, we propose to think of this type of activism through the idea of“graffitimedia” (MacDowall 1) characterized by an emphasis on individualism, self-promotion,and mobility (Lachman; Bilodeau). This theoretical framework allows the interpretation ofhashtags and other slogans as the materiality of online activism, affording the spread andduplication of its message, while risking the banalization or repurposing of its meaning.
Rather than reconciling the dichotomy opposing “real” activism and “slacktivism” (Cabrera etal.), what we seek is to better understand the dynamics that fuels, dilutes or radicalize militantdiscourse online.
Using machine learning textual analysis methodologies, this paper will trace back thediscursive evolution of the “Bliztchung” controversy on Twitter, Reddit and YouTube throughthe analysis of textual data covering the three months following the controversy. Doing so, we
identify, map and compare four major discursive trends – “Controversy and Free Speech”,“Activism and Democracy”, “Hateful Language Directed at Game Companies”, and “Capitalism,
Politics and the Game Industry” – and identify paradigmatic moments of the discourse in- 110 -

Book of Abstracts | Replaying Japan 2021
relation to the involvement of leading community actors to develop a plural understanding of
their “militant” effects. We also discuss and illustrate the role of online platforms’ content
search algorithms in structuring the corpus studied, which highlights the role of AI as analgorithmic agent participating in the spread and evolution of the lexical field associated withthe controversy, associating unrelated content to the search words through user “engagement
signals” (YouTube). We then propose to consider the graffiti-type structural dynamics of thecontroversy as a field of engagement that concerns not only gaming culture, but that extends– through the actions of human and non-human agents – to other socio-political struggles suchas the denunciation of the treatment of the Uyghur people in China.
References
Brack, J. Allen. “Regarding Last Weekend’s Hearthstone Grandmasters Tournament”
Blizzard.com,
October
12,2009.
https://news.blizzard.com/enus/blizzard/23185888/regarding-last-weekend-s-hearthstone-grandmasters-tournament
Bilodeau, Denyse. Les murs de la ville : les graffiti de Montréal. Montréal: Liber, 1996.
Cabrera, N. L., Matias, C. E., & Montoya, R. “Activism or Slacktivism? The Potential and Pitfallsof Social Media in Contemporary Student Activism” Journal of Diversity in Higher Education,
April 3, 2017.
Lachmann, Richard. “Graffiti as career and ideology” American Journal of Sociology, 94:2
(1988), pp. 229-250, 1988.
MacDowall, Lachlan. “Graffitimedia: How graffiti functions as a model for new media futures”
Proceedings, Vital Signs: Creative Practice and New Media Now, Informit RMIT Publishing 2005.
YouTube. “Product Features - YouTube Search” YouTube.com, Accessed July 5 th, 2021.
https://www.youtube.com/intl/ALL_ca/howyoutubeworks/productfeatures/search/?utm_campaign=1008960&utm_source=paidsearch&yt_product=ytgen&yt_
goal=eng&utm_medium=googlesearch&utm_content=txt&yt_campaign_id=hyw&yt_creative_
id=&utm_keyword=how%20does%20the%20youtube%20algorithm%20work&utm_matcht
ype=e&gclid=CjwKCAjw_o-HBhAsEiwANqYhpwrWZeEheGbwmeZkJjpTy0PV5KLlPVQxko2VcJy__Qm-j1qR8D4uhoCNh4QAvD_BwE.

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Book of Abstracts | Replaying Japan 2021

Session 7“Curated Expressions of Japanese History in Sid Meier's Civilization VI”
Michael Pennington, Bath Spa University
michael.pennington16@bathspa.ac.uk
Sid Meier’s Civilization VI (SMCVI) produces curated interpretations of Japan’s post-1945
history. There is a significant body of game studies research on the historical turn-based
strategy series. Predominantly, this literature explores the series’ pedagogical potential(McCall, 2012; 2016; Salter, 2016; Squire, 2011), or its evolving representations of history(Carr, 2007; Chapman, 2013; 2016). However, this scholarship fails to examine the game’s
perception of Japanese history. To address this fissure, the paper illustrates how the systemic
components of SMCVI present unique expressions of Japan during the latter half of thetwentieth century.
The paper builds upon an innovative understanding of videogame developers as “developercurators” who curate history through pragmatic game design and considerations of audience
expectations for in-game historical content (Pennington, 2021). In particular, the paper
explores SMCVI’s representation of Japanese history through the Electronics Factory building
unit specific to the nation. Replacing the universal Factory building, the Electronics Factory
includes unique systemic processes that produce historical interpretations of postwar Japanthat conform to popular historical perceptions. Through the systemic effects of building theElectronics Factory, the unit persuasively reaffirms recognisable conceptions of Japanesecontemporary history through the mass global popularity and cultural influence of digitalconsumer technologies and videogames (Koizumi, 2002).
References
Chapman, Adam. Digital Games as History: How Videogames Represent the Past and Offer Accessto Historical Practice. New York: Routledge, 2016.
Chapman, Adam. “Is Sid Meier’s Civilization history?”. Rethinking History 17, 3 (2013): 312332.
Carr, Diane. “The Trouble with Civilization”. In Videogame/Player/Text, ed. Tanya Krzywinska
and Barry Atkins, 222-236. Manchester: Manchester University Press, 2007.
Koizumi, Kenkichiro. “In Search of “Wakon”: The Cultural Dynamics of the Rise of
Manufacturing Technology in Postwar Japan”. Technology and Culture 43, 1 (2002): 29-49.
McCall, Jeremiah. “Navigating the Problem Space: The Medium of Simulation Games in the
Teaching of History”. The History Teacher 46, 1 (2012): 9-28.
McCall, Jeremiah. “Teaching History With Digital Historical Games: An Introduction to theField and Best Practices”. Simulation and Gaming 47, 4 (2016): 517-524.
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Book of Abstracts | Replaying Japan 2021
Pennington, Michael. “Curated Expressions of Japanese History in Hearts of Iron IV”. Replaying
Japan 3, (2021): 101-113.
Salter, Anastasia. “Educational Games”. In Debugging Game History: A Critical Lexicon, ed.
Henry Lowood and Raiford Guins, 119-126. London: The MIT Press, 2016.
Squire, Kurt. Video Games and Learning: Teaching and Participatory Culture in the Digital Age.
New York: Teachers College Press, 2011.

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Book of Abstracts | Replaying Japan 2021++++++++++“Japanese Digital Games in Czech Media Discourse”
Marek Mikeš, Masaryk UniversityZdeněk Záhora, Masaryk University
marekmikes@mail.muni.cz
Japanese digital games are a global phenomenon and as such, they have been a long-standing
subject of journalistic as well as scholarly writing, which also frequently explores the originsof the international success of Japanese games.
Tristan Donovan states that “attempts at writing the history of video games to date have been
US rather than global histories,” (2010, Introduction) and the same can be said about English
writing on Japanese games specifically. While the entrance of Japanese games to the American
market in the 1980’s and their subsequent reception is relatively well documented (e.g.: Kline,
et al. 2003; Altice 2015; Consalvo 2016), the situation in Europe is much less clear.
While a certain Americentrism of English writing could be explained linguistically, there arefactors beyond language, that contribute to the scarcity of sources on the spread of Japanesegames in Europe. One of them is the difference in preferred gaming platforms: while in Japanthe main platform for gaming at home were game consoles since the 1980’s (see Koyama 2016,97), in Europe, the position of home computers was much stronger (Altice 2015, 242). More
importantly, a divided market and wildly varied socio-economic conditions in different
European regions make it very difficult to make generalized conclusions about the spread ofJapanese games in Europe.
To elucidate the process of the gradual adoption of Japanese games in a fragmented market
such as Europe, we believe it is important to start the enquiry at a local level. In our paper, we
will explore the Czech media discourse in order to identify how Japanese games were received
and adopted in The Czech Republic (and Czechoslovakia earlier) in the 1980’s and 1990’s.
Analyzing contemporary press and other available sources (including advertisements andparatexts such as walkthroughs and cheat lists in dedicated media), we will reconstruct theprocess of the adoption of Japanese games as well as demonstrate the lag in official
distribution, the sentiments held against console gaming and other obstacles that have caused
a significantly belated embracing of Japanese games compared to the US. In providing a
discussion of the topic from a “Eastern Bloc” country, we hope to contribute to theunderstanding of the history of reception and consumption of Japanese games.
References
Altice, Nathan. I Am Error: The Nintendo Family Computer / Entertainment System Platform.
Cambridge; London: MIT Press, 2015.
Consalvo, Mia. Atari to Zelda: Japan’s Videogames in Global Contexts. Cambridge; London: MIT
Press, 2016.

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Book of Abstracts | Replaying Japan 2021
Donovan, Tristan. Replay: The History of Video Games. East Sussex: Yellow Ant, 2010. Kindle.
Kline, Stephen, et. al. Digital play: the interaction of technology, culture, and marketing.
Montreal & Kingston; London; Ithaca: McGill-Queens’s University Press, 2003.
Koyama, Yūsuke. Nihon dejitaru gēmu sangyōshi: Famikon izen kara sumahogēmu made. Tokyo,
Japan: Jinbun shoin, 2016.

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Book of Abstracts | Replaying Japan 2021++++++++++“Eating Your Way Through Sugoroku: Imaginary Travel in a Japanese Board Game”
Bianca Chui, University of British Columbia
biancamychui@gmail.com
Like other forms of entertainment, games allow players to escape their mundane reality andimmerse themselves in the imaginary worlds within. Before the development of video games
in Japan, there was a type of board game called sugoroku. It appeared as early as the thirteenth
century and became more popular during the Edo period (1600–1868) with advances inwoodblock printing technology. Sugoroku are somewhat similar to “snakes and ladders”
games, with a player aiming to reach the final square before competitors. These games were
often based on themes that were related to Buddhism, theatre, and travel. Shinpan gofunai
ryūkō meibutsu annai sugoroku (ca. 1850 or 1852) is one example of sugoroku that features
landmark restaurants and food items that existed in the city of Edo.
In this paper, I will consider how sugoroku fostered conceptual travel through the depictionof famous foods associated with specific locations or restaurants. I will focus on culinary
examples of “famous things” (meibutsu) identified in these games. Sugoroku board games
represented physical environments (like locations along a route) while also enabling players
to create their own game worlds. Players could thus learn about famous sites and foods while
also undertaking armchair journeys to these locations which existed both physically and in
the mind’s eye.
Although many sugoroku feature a spiral-like path in which the player starts at one corner andadvances towards the goal square in the centre, the sugoroku examined here is a “jumping”
sugoroku where each square in the game gives specific instructions as to which square theplayer should proceed to when they throw a certain number. The elements of chance anduncertainty within a game of sugoroku allows for infinite versions of game paths. Dependingon the number they throw, each player will experience a different path. Through repeatedplaying of the game, the players can embark on variations of gastronomic journeys.
This paper will examine consumable famous goods (or meibutsu) associated with set shops
or locations as depicted in one particular sugoroku, the Shinpan gofunai ryūkō meibutsu annai
sugoroku. I will focus on the “cherry rice-cakes” (sakura mochi) travellers purchased in frontof the temple Chōmeiji as one example that demonstrates the intersection of food culture andtravel culture as an object of play.

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Book of Abstracts | Replaying Japan 2021

Figure 1. Utagawa Yoshitsuya (artist), Shinpan gofunai ryūkō meibutsu annai sugoroku, (新版御府内流行名物案
内双六, Sugoroku on Popular Specialties within Edo, New edition), Edo: Ebiya Rinnosuke 海老屋林之助, ca. 1850
or 1852. Multicoloured woodblock print, 69 x 49.8 cm. Courtesy of the National Diet Library, Tokyo.

References
Utagawa Yoshitsuya 歌川 芳艶. Shinpan gofunai ryūkō meibutsu annai sugoroku
新版御府内流行名物案内双六 . Edo: Ebiya Rinnosuke 海老屋林之助, ca. 1850 or 1852.
National Diet Library, Tokyo.
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Book of Abstracts | Replaying Japan 2021++++++++++“Remediating Video Games: Early Game Theory in Unlikely Places”
Jonathan E. Abel, Penn State University
jea17@psu.edu
This paper examines two emergent discourses around gaming in Japan in the 1980s that havecoalesced in recent years into the sekai-kei genre. Drawing on playwright Betsuyaku Minoru’s
1986 essay about of the loss of a middleground space for social interaction, various media
theorists in this century argue that the genre of sekai-kei pits individuals in close-up (lovestory) in direct control of wide-angle geostrategic problems (the end of the world) without
the traditional social intermediaries between individual and world (such as family, school, andgovernment). The advent of videogames transitioning from the public arcade (game center)to the private home in the early 1980s coincides with the rise of a perceived of a loss of society
and of a pronounced fantasy about the individual ability to effect change on the world. On the
one hand, videogames have long been stigmatized by moral panics as a core problem for the
dissolution of familial and social bonds; and on the other hand, videogames have long staged
play with the end of the world.
By looking in the way various older media reacted to the presence of videogames in the wider
mediascape, this paper tracks a burgeoning or nascent game theory at a time of relative
absence of gaming theory proper. Remediation (the casting of one form of media in other)offers remarkably clear evidence about the representation of social attitudes towards aparticular new medium often avant la théorie. Prior to the overt theorization of the new
medium, two prominent examples of remediations of videogames in novels and films establish
the precursors to sekai-kei theory as they existed around game culture in the
1980s. Considering Morita Yoshimitsu’s Family Game (1983) and Murakami Haruki’s
Hardboiled Wonderland and the End of the World (1985) shows how videogames (though
represented in these works only in passing) not only found and order those works but alsopresent a coherent emergent early videogame theory.>>
References
Chang, Alenda Y. “Games as Environmental Texts.” Qui Parle. 19, no. 2 (2011).
Betsuyaku, Minoru. “' Nerima OL satsujin jiken': ochikochi-hō o sōshitsu shita hanzai-sha.”Chūō kōron 98 no. 12 (1983): 267-273.
---. “Tokushū/eiga Ⅱ, eizō kara bungaku e: miru koto no ochikochi-hō.” Kaie ― atarashī
bungaku no techō. 4 (April 1979).
---. “Chū kei no sō shitsu.” Uma ni notta Tange Sazen. Tokyo: Libroport, 1986.
---. “‘Chūkei’ toshite no Ajia.” Tokushū higeki kigeki: Watashi no naka no Ajia. 43 no.03 (1990)
14-16.

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Book of Abstracts | Replaying Japan 2021---. “Atetsuke hanzai no kozu ‘bosei’”. ‘Bosei' no hanran: Heisei hanzai jikenbo. Tokyo: Chūō
kōron shinsha, 2002.
Kazoku gēmu. directed by Morita Yoshimitsu. Tokyo: Circle Films, 1983.
Murakami, Haruki. Murakami haruki zen sakuhin, 1979 - 1989: Sekai no owari tohādoboirudowandārando [1985]. Tokyo: Kōdansha, 1990.
Murakami Haruki. Hard-Boiled Wonderland and the End of the World. translated Alfred
Birnbaum. New York: Vintage, 1993.
Takano Yashuhiro. “Murakami Haruki ‘Sekai no owari to hādoboirudo wandārando’.”Bungaku
sakuhinoyomu.
Accessed
November1,
2017
http://www005.upp.sonet.ne.jp/Kaede02/sakuhin2/sekai_hard.html 2006.

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Book of Abstracts | Replaying Japan 2021++++++++++“#MewToo: “Spoofer Stalkers” and the Safety of Femme and Women Players of Pokémon GO”
Stéphanie McKnight, Carleton University
STEFYMcKnight@cunet.carleton.ca
In a 2016 article published by Forbes, Ryan Mac writes “Many more women are playing
Pokémon GO than men. A lot more women.” (Mac, 2016). A reddit thread titled “Female
Pokémon Go Players! What are your experiences with the game? Tell us your stories” outlines
the experiences of women, femme, and female players playing Pokémon GO. Many of thecontributions from femme and women players have outlined instances of harassment,
intimidation, and fear of accessing certain locations of “gyms” in their communities (Reddit,2019). While surveillance and privacy scholars have critiqued Pokémon GO for its use of GPS
tracking, augmented reality (AI), and relation to surveillance capitalism (Shekhar and Vold,
2020; Zuboff, 2019; Policarpo and Ferreira de Araujo, 2019; de Souza e Silva and Hjorth,2017), the game has not ceased to collect data and continues to incentivize players and share
their information. Actually, Pokémon GO has incorporated more localized and communitybased features like “remote raids”, “gifts” for friends, and “trades”, that require users to engage
with, in order to advance further into the game.
This paper explores a series of instances of what Reddit Pokémon GO players call “spoofer
stalkers”, and the ways that players have been followed and tracked in their communities
based off of their engagement with the game. More specifically, it looks at this from the lens of
women and femme players, addressing a current conundrum in the Pokémon GO community,
regarding pleasure and risk. This paper will reveal instances of spoofer stalking in North
America, as well as some of the ways that femme and women players have curated their
participation to avoid harm. Overall, this paper addresses the complexities of surveillance, risk,
pleasure, and gender violence through a look at Pokémon GO and its femme and female users.

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